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YALE STUDIES IN ENGLISH 

ALBERT S. COOK, Editor 

LVI 



THE CASE IS ALTERED 

BY 



BEN JONSON 






EDITED WITH INTRODUCTION, NOTES, AND GLOSSARY 

BY 

WILLIAM EDWARD SELIN, Ph.D. 



NEW HAVEN: YALE UNIVERSITY PRESS 

LONDON: HUMPHREY MILFORD 

OXFORD UNIVERSITY PRESS 

MDCCCCXVII 



YALE STUDIES IN ENGLISH 
ALBERT S. COOK, Editor 

LVI 



THE CASE IS ALTERED 

BY 

BEN JpNSON 



EDITED WITH INTRODUCTION, NOTES, AND GLOSSARY 

BY 

WILLIAM EDWARD SELIN, Ph.D. 



A Dissertation presented to the Faculty of the Graduate School 

of Yale University in Candidacy for the Degree of 

Doctor of Philosophy 




NEW HAVEN: YALE UNIVERSITY PRESS 

LONDON: HUMPHREY MILFORD 

OXFORD UNIVERSITY PRESS 

MDCCCCXVII 



tK 



t"? 



Gift 



PREFACE 

An edition of The Case is Altered will naturally include 
a discussion of three subjects — the authorship of the play, 
its date, and the satire on Anthony Munday. Jonson saw 
fit to ignore the play when he assembled the others in his 
folio of 1616, and this fact has left the authorship in some 
doubt. Why did he reject the play? Was he too critical 
of its faults, or did some one collaborate with him to such 
an extent that he could not justly claim it as his? Jon- 
son's name on the title-page of the quarto signifies nothing, 
since there are some copies that omit the name, and the 
uncorrected condition of the text is fair evidence that he 
had no hand in the printing. Its exact date, likewise, is 
uncertain. It was first printed in 1609, but there is a clear 
allusion to it by Nashe as early as 1598. As this was the 
year when Every Man in his Humour was produced, the 
question of priority naturally arises. The satire on 
Anthony Munday complicates the problem of the date, as 
it gives evidence of being a later addition. Was Meres' 
designation of Munday as 'our best plotter' a sufficient 
reason to evoke the satire? Its humorous treatment does 
not conceal the fact that Jonson seems to have had strong 
provocation for the attack. Such, in brief, are some of the 
problems discussed in the Introduction. Other questions 
will be found to rise out of these, which are not so impor- 
tant, perhaps, but which are nevertheless full of interest. 
These too have briefly been considered. 

My sincere thanks are due to Mr. W. A. White, of New 
York City, for his generous loan of the quarto of The Case 
is Altered, and for information about the folios ; to Pro- 
fessors Richard G. Moulton, John M. Manly, Albert H. 



iv Preface 

Tolman, and David A. Robertson, of the University of 
Chicago, for letters regarding the presentation of The Case 
is Altered by students of that university; to Professor C. 
F. Tucker Brooke for points about EHzabethan printing; 
to Mr. Andrew Keogh, Mr. Henry R. Gruener, Mr. George 
A. Johnson, and Mr. Henry Ginter, of the Yale Library, 
for bibliographical aid. To Professor Albert S. Cook I 
owe a special debt of gratitude for frequent inspiring con- 
ferences, and for his patient criticism of my work. 

A portion of the expense of printing this dissertation 
has been borne by the Modern Language Club of Yale 
University, from funds placed at its disposal by the gen- 
erosity of Mr. George E. Dimock, of Elizabeth, New 
Jersey, a graduate of Yale in the Class of 1874. 

Yale University, 
June, 1916. 



CONTENTS 



INTRODUCTION 

A. Editions of the Text 

I. The Quarto of 1609 . . . vii 

II. Subsequent Editions ... x 

B. Authorship of THE CASE IS ALTERED xi 

C. Date ....... xxix 

D. The Satire 

I. Anthony Munday .... xxxv 

II. Conduct of the Audience . . . xxxix 

E. Sources ....... xHi 

F. Evaluation of THE CASE IS ALTERED xlvii 

TEXT I 

NOTES 95 

GLOSSARY 191 

BIBLIOGRAPHY 207 

INDEX 212 



INTRODUCTION 

A. Editions of the Text 

I. The Quarto of 1609 

The Case is Altered was published in quarto in 1609. It 
was not published again, either separately or in any collected 
edition of Jonson's works, until 1756, when it was included 
in Whalley's edition. Some^ have insisted that the play 
appears in the folio of 1692, but no evidence is given that 
the writer saw the play in any particular copy of this folio. 
A careful search, extending over a wide field, has failed 
to show that the play was ever printed in any of the folios 
of Jonson. The search included the folios in the libraries 
of the following: Yale University, 1616, 1631-1640, 1640 
(2 copies), 1692; Professor Wilham Lyon Phelps (Yale), 
1616, 1640 (2 copies), 1692; Professor John Milton Ber- 
dan (Yale), 1640, another issue (undated) ; Elizabethan 
Qub (Yale), 1616; Boston Athenaeum, 1631-1640; Colum- 
bia University, 1640-1641 (2 vols.) ; Cornell University, 
1616; Professor Joseph Q. Adams (Cornell), 1616, 1640; 
Harvard University, 1616-1641 (2 vols.) ; Peabody Insti- 
tute, 1616-1641 (2 vols.) ; Princeton University, 1640 (2 
vols.) ; George D. Smith (bookseller. New York City), 
1692; University of Chicago, 1616; University of Penn- 
sylvania, 1616, 1640; Mr. William A. White, New York 
City, 1616, 1640, 1692. In a letter to Dr. George B. Ten- 
nant,^ dated November 9, 1906, Mr. W. W. Greg writes, 
in part, as follows: 'To the best of my belief (and I have 

^ Hazlitt, Bibliographical Collections, Second Series, 1882, p. 320; 
Diet. Nat. Biog. (s. v. Jonson) ; cf. Hart (ed. Wks. i. xxviii). 
^Ed. New Inn {Yale Studies 34. iv). 



viii Introduction 

examined a good many copies of every edition), The Case 
is Altered was never printed in folio at all.' Mr. Horace 
Hart, Controller of the Oxford University Press, under the 
date of January 8, 1912, writes: 'The Case is Altered does 
not appear in the folio edition of 1692 in the Bodleian 
Library.' 

In preparing the present edition, five copies of the quarto 
were used. Four were photographic facsimiles, and the 
fifth was an original copy kindly lent by Mr. W. A. White 
of New York City. Of the texts that were photographed, 
one is in the Bodleian Library at Oxford (B), two are in 
the British Museum (Mi, M2), and the fourth was in the 
library of the Duke of Devonshire (D). The copies have 
been carefully collated, and all differences in spelling and 
punctuation have been recorded in the footnotes. There 
are noticeable differences in the title-pages. The arrange- 
ment and reading of one (Mi) are, in several respects, 
unlike the others. The latter are identical, except that one 
(D) lacks Jonson's name. Reproductions of the title-pages, 
showing these variations, will be found on pages 3, 5, and 
7. Both copies in the British Museum (Mi, M2) lack the 
last page, and in each the last line of the page preceding 
has apparently been excised. 

The text of the present edition is a faithful reproduction 
of Mr. White's copy. It is one of the more corrected 
copies, and has the obvious advantage of being an orig- 
inal quarto. An edition such as this is intended for the 
general student, whose work is not of such a character as 
to demand the original text, but who would find a repro- 
duction of it of great value, especially since the quarto is 
not so easy of access. No alterations, therefore, have been 
made in spelling or punctuation, even when these are obvi- 
ously incorrect. The quarto does not have the acts and 
scenes indicated throughout the play. Where these cease, 
an attempt has been made to supply them. There is no 
pagination in any of the copies. 



Editions of the Text ix 

The collation shows that all but the Mi copy, with five 
exceptions (Antotiy, p. 9; dost, 1.3. 14; lealous, 2.4.63; 
Lordship, 2.6.30; come, 2.7.1 17), agree in their readings as 
far as the end of Act 4, scene 6. The Mi copy differs 
from the others in twenty-three readings. The collation 
shows also that all copies but B, with four exceptions (thee, 
4.6.1 ; kinsman, 4.7.71 ; sences, smels, 4.7.133), agree from 
Act 4, scene 7, to the end of the play. The B copy has 
twenty-two variations. In both parts of the quarto, where 
the four copies agree, the readings are, in the main, prefer- 
able. It will be seen then that D, M2, and Mr. White's 
copy, while they still retain many errors, are at least more 
free from them than Mi and B, and that attempts at cor- 
rection were made while the play was in process of being 
printed. Whoever it was that took the initiative in having 
the play published, whether it was the theatrical manage- 
ment of the Blackfriars, as Mr. White is inclined to 
believe, or whether it was the printers themselves, it is rea- 
sonably certain that Jonson had no hand in the printing. 
The correction was never finished, and such as there is 
does not give evidence of Jonson's painstaking hand. The 
play seems to have been hurriedly issued. Aside from 
errors in spelling and punctuation which still remain, the 
abrupt ending to the division of acts and scenes, and the 
large portions of Act 5 which are clearly intended to be 
read as verse, and are not tlius arranged, tend to confirm 
this view. 

However the copies of the quarto, which have been col- 
lated, may differ, whether in title-page or text, or whether 
Jonson's name appears on the former or not, it is evident 
that the same form was used to print all of them. The 
texts are identical in their irregularities of spacing and 
alignment, in instances where the letters have been slightly 
damaged or worn, and in numerous places that show typo- 
graphical errors. The following are a few examples of the 
last: n for in, 2.4.17; frick for trick, 2.7. 131 ; mothelry 



X Introduction 

for motherly, 4.2.58; the omission of Juniper before the 
speech, 4.7.148; the inversion of m in mad, 4.7.163; a to 
priest for to a priest, 5.4.12. Others will be found in the 
footnotes. 

The footnotes have been limited to the textual variants 
of the five copies of the quarto, to Gifford's added stage- 
directions, and to such corrections or alterations made by 
Whalley and Gifford as seemed of value. 

II. Subsequent Editions 

After the quarto of 1609, the next appearance of The 
Case is Altered was in Peter Whalley's edition of Jonson's 
works, published in 1756. Credit should be given to Whal- 
ley for including this play, and for tracing some of its 
sources. He retained the arrangement of the acts, scenes, 
and stage-directions of the quarto. He made a practice of 
retaining the name of the Deity in oaths, such as God's lid, 
I.I.I 5; also / (ay), 1.1.40; and contracted words: you're, 
1. 1. 31; is't, 1.2.10. Though he altered and corrected the 
spelling, he sometimes allowed misspelled words to remain : 
lothes, 1.4.34; dow, 5.5.200. The corrupted French in Act 
4, scene 3, he wisely left untouched. Metrical lines, not 
properly arranged, were to some extent corrected. Where 
the quarto has the modern spelling, Whalley has cheared, 
3.4.46; dunghil, 3.5.15. In past participles, he usually 
wrote try'd for tri'd, 1.4.33; ^Pj'd for spide, 2.6.39. ^^ 
some instances, words were altered : outer for outward, 
1.4. 13; oft-times for oftentimes, 1.5.69; words were 
inserted: all this for this, 1.2.17; you'll for you, 4.7.31; 
words were omitted: go for go to, 1.1.121 ; his for and his, 
4.2.35 ; words were displaced by others : as for but, 1.5. 214; 
fear for see, 1.5.249. In one place he altered the reading, 
compressing two speeches into one (4.3.62-3) : 'Oni. Mon- 
sieur Pacue.' In another, he omitted the first part of a 
speech (5.1.41): 'Ang. Do, good foole, do, but ile not 
meet you there.' It will be seen that many of Whalley's 



Authorship xi 

alterations are unnecessary, and are by no means an 
improvement over the quarto readings. 

William Gifford included the play in his edition of Jon- 
son, published in 1816. His emendations and notes are 
better and more thorough than Whalley's, and he supplied 
additional notes on the sources. He revised the stage- 
directions and the division of acts and scenes. Many lines 
were rearranged to show the verse-structure. In the case 
of oaths he has Lord for God, 1.4.59; Od's for God's, 
1. 1. 1 5. He wrote Ay for I, 1.1.40; an for & or and, 
1.1.96,100; them or 'em for hem, 1.1.95; 4.7.29. Contracted 
words were expanded: you are for yoiir, 1.1.31 ; is it for 
ist, 1. 2.10; forced for forct, 1.2.20; but sometimes look'd 
for lookt, 1.3.5; ^^d enamour'd for enamored, 1.1.30. 
Occasionally the expansion is at the expense of metre : to 
insinuate, 1.4.32; the abundance, 1.4.35. Words were 
altered: does for do, 1.5.35; burthen for burden, 4.5.52; 
words were inserted, usually for metrical reasons : looks 
aghast for lookes, 1.5.256; my before faire f ether ed, 5.1.90; 
words were omitted : is for is truly, i . i .66 ; pray for pray 
God, 2.2.49-50; words were displaced by others: our for 
your, 1.3. 12; coying for wooing, 5.1.7. In numerous 
instances he followed the emendations made by Whalley. 
Cunningham, in the notes to his reprint (1875) of Gififord's 
edition, justly finds fault with many of Gififord's alterations. 

B. Authorship of THE CASE IS ALTERED 

It is well known that The Case is Altered has not so clear 
a title to Jonson's authorship as the other plays. It was 
neither included by him in the collected editions of his 
works, nor was it, so far as we know, ever referred to 
as his, either by himself or by his contemporaries. Some 
copies of the quarto have Jonson's name on the title-page, 
but the value of this is offset by the fact that there are other 
copies of the same edition that have no name. The uncer- 



xii Introduction 

tainty caused by this is not lessened when it is considered 
that, as a romantic comedy, the play differs from his other 
plays, and that the variety of plots, and the treatment of 
the dramatic unities, would seem to be contrary to Jonson's 
classical ideals and practice. However, the consensus of 
opinion has been that the play bears the stamp of his hand, 
and it is therefore usually referred to as his. 

Before entering upon a discussion of the internal evi- 
dences of authorship, a few of the questions naturally 
raised will be briefly considered. If Jonson wrote The 
Case is Altered, why was it neither acknowledged nor 
included by him in his works? It has been suggested^ that 
a possible reason for this was that he had a collaborator 
whose part was important enough not to be overlooked. 
Had there been a collaborator — and this seems doubtful — 
it would not have prevented him from at least allowing the 
association to be indicated, as, for example, was the case 
with Eastward Hoe. That Jonson at first was not averse to 
having his name appear as collaborating with others, there 
is additional proof from entries in Henslowe's Diary.^ On 
the other hand, it is possible that he may have collaborated 
in the present play, and that he refused to have his name 
appear because he thought that the practice was not credit- 
able to him. A better reason for ignoring the play, and 
one more in accord with what we ■'know of Jonson, is 
that he believed it did not represent his best work. He 
was not interested in its type, and, as a whole, it did not 
conform to his ideals of classical unity.^ However skilfully 
they were interwoven, he must have felt that the presence 
of two, if not three, major plots and numerous sub-plots, 
and of several characters more or less undeveloped, dis- 
credited him as an artist. There were also the time-element 
and the Balladino incident to disturb its unity. Whether 

^ Castelain, p. 207; cf. Swinburne, p. 11. 
^Ed. Greg i. 49, 51, 63, 64. 
* Castelain, p. 207. 



Authorship xiii 

he regarded the play as an experiment, or as the crude work 
of a novice, it is evident that the result did not suit him. 
Jonson's theories as to the unities of time and action, and 
his treatment of them in the present play, will be considered 
more fully under Evaluation. 

Why some copies of the quarto bear Jonson's name, and 
others do not, has been a matter of conjecture. Fleay* 
believed that his name was inserted in later copies. Swin- 
burne's^ view was that the play was printed without Jon- 
son's sanction, and that he took measures to stop its 
circulation. Referring to a newspaper clipping possessed 
by Dyce, in which it was stated that the title-page of the 
Devonshire copy gave clear evidence of having had the 
name canceled, Cunningham** says that if this had been 
the case, some mention of the circumstance would have 
been made in the conversations with Drummond. 

From a comparison of the copies of the quarto which have 
been used for the present edition, the conclusion seems 
warranted that the first copies had Jonson's name, and that 
later, for unknown reasons, probably at Jonson's demand, 
the name was canceled. This conclusion is based, first, on 
the degree of correction evident in the texts, and, secondly, 
on a comparison of the title-pages. Assuming that the 
texts showing the greater number of typographical errors 
were the first to come from the press, the choice falls on 
B and Mi, each of which bears Jonson's name, and both 
show numerous errors that were corrected in D, M2, and 
White. Of the two. Mi seems to have been the first to be 
printed. The errors are found in the first two-thirds of 
the play, and these have been corrected in B and the other 
copies. The peculiar arrangement of the title-page of Mi 
would seem to indicate that it was prepared for an advance 
issue. The prominence of Jonson's name is especially 

* Drama i. 357. 

° Ben Jonson, p. 9 ; cf . Castelain, p. 193, note. 

' Works 6. 510. 



xiv Introduction 

noticeable. It heads the printed matter, and its type is so 
much larger than the rest that the name is featured rather 
than the title of the play, a device which an enterprising 
publisher would naturally adopt to ensure a ready sale on 
its first appearance. 

Upon comparing the title-pages, there is additional evi- 
dence that Jonson's name was on the original form, and 
was later removed. Four title-pages (B, M2, D, White) 
are identical, except that Jonson's name is omitted on D. 
Compare D and B, for example, and notice the spacing of 
each, with a view to deciding which arrangement is the 
more properly balanced. It will be seen that B has the 
appearance of a normally arranged page, with no indication 
of crowding, as if the name had been a later insertion. 
In D, on the other hand, there is an apparent gap between 
the line above the device and the words 'children of the 
Black-friers,' and the page would seem better balanced, 
either if the words, 'As . . . Black-friers,' had been a 
little lower, or if the device and the line above it had been 
raised. The inference that the name was removed from D, 
and not inserted in B, is strengthened when it is noticed 
that the same form was used to print both. The spacing 
between letters, words, and lines is identical, the r in 
'sundry' is inverted in both, and the same indications of 
wear are seen in individual types, especially in A and C 
of the initial line. 

It seems improbable that a name of such weight as Jon- 
son's possessed at this time would be removed through the 
initiative of the publisher. Jonson consistently avoided 
mentioning or claiming the play, and, if he gave the order 
that caused the removal of his name, this would conform 
to the attitude he seems to have assumed, tliat he had no 
further interest in the play, and did not wish his name 
associated with it. 

Why did Jonson write a romantic comedy, and why did 
he leave this type for satiric comedy? It was a period 



Authorship xv 

when romantic comedy was being written. Quite possibly 
Shakespeare's'^ success in this field had some influence. 
Greene,* Munday,® and Dekker/** had written or were writ- 
ing plays of this type. Being a young writer, it would 
be natural for Jonson to be experimenting with what was 
meeting with popular favor. Aside from the tendency which 
his youth would have in determining the choice, his mate- 
rial would easily lend itself to such treatment. In the 
Aulularia, Phaedria, the prototype of Rachel, takes no part 
in the action. The possibilities here for greater dramatic 
effect were doubtless clear to Jonson. The choice, on the 
other hand, may have been influenced by Henslowe, who, 
with a view to meet the popular demand, requested a 
romantic comedy. To have produced a play of a kind in 
which he had no choice, would in a measure help to explain 
his silence regarding it. 

The chief reason why he abandoned romantic comedy 
is probably that he was not interested in it. Evidence 
of this can be seen in the present play. It is granted 
that, in Rachel, Jonson has given us his only real and 
lovable feminine character.^^ But the farcical situations 
that concern Juniper, Jaques, and Onion, are worked out 
more carefully, and apparently with greater interest. As 
we know from his other works, it was in this field that his 
greatest strength lay. In this connection, Dryden writes^^ : 
'You seldom find him making love in any of his scenes, or 
endeavouring to move the passions; his genius was too 
sullen and saturnine to do it gracefully, especially when he 
knew he came after those who had performed both to such 
an height. Humor was his proper sphere.' As an addi- 

' Two G. of v., Com. of E., L. L. L., M. of V., M. N. D. 

* Friar Bacon, James IV. 

^ John a Kent, Downfall. 

^'' Shoemaker's Holiday. 

" Castelain, p. 199; Schelling i. 389. 

"Essay of Dramatic Poesy (ed. Saintsbury 15. 347). 



xvi Introduction 

tional reason, it is possible that circumstances influenced his 
course. In the years that followed, we know that, during a 
part of the time, he was involved in the quarreP^ with 
Marston, Dekker, and others, and romantic comedy was not 
suitable for his purpose, had he preferred it. When the quar- 
rel is ended, he tells us he intends to turn to tragedy." How- 
ever, after the appearance of Sejanus, he returns to 
comedy — not the comedy of The Case is Altered, but that 
in which he had found his greatest strength, satiric comedy. 

With no definite external evidence to support Jonson's 
authorship of The Case is Altered, it remains to seek this 
evidence from internal sources. That the value of this is 
often only apparent, rather than convincing, is fully under- 
stood. But an author with an individuality as marked as 
Jonson's must have left some proofs of his personality in 
his works, which would be easily recognized. In the fol- 
lowing pages, an attempt will be made to present such 
proofs. Only the most prominent characteristics have been 
selected from his works, and tliese will then be applied to 
the present play in the form of tests. The tests have been 
limited to five — parallel passages, diction, characters, situa- 
tions, and prosody. The works of contemporary drama- 
tists^^ were constantly kept in mind, and material was often 
rejected when it was found to be common to these with 
Jonson. The examples supplied are not asserted to be 
exhaustive, but enough of them have been secured to show 
the value of the test. In some cases, references have been 
included which may seem of doubtful value, but it seemed 
wiser to include them than to risk a possible loss by omitting 
them. 

The parallel passages will be found in their proper places 
in the notes. They have been placed first in the note, 

^^Cf. Small, Stage-Quarrel. 
"Poetaster 2. 520. 

^° Especially Shakespeare, Chapman, Dekker, Marston, Middleton, 
Heywood, and Chettle. 



Authorship xvii 

except where quotations are made from the sources. Only 
one set of parallel passages will be noticed here, and that 
is in reference to 2. 7. 81-8. The passage from Every Man 
Out will be seen to have been quoted almost verbatim, a 
practice^^ that Jonson often follows in his other works. 

Jonson's vocabulary is not so distinctive as may be sup- 
posed. Cunningham^^ speaks of his fondness for 'harrot', 
but the word is used only twice outside of the present play. 
Gifford^^ refers to his use of 'maker' for poet, in the Greek 
sense.^^ But this usage is fairly common among Eliza- 
bethan writers, and the extent to which it was adopted by 
Jonson is perhaps not sufficient to be regarded as charac- 
teristic. However, it has been thought best to include the 
word. Only the verb^° appears here. The words 'circle'^^ 
and 'sphere'-^ are common ; 'case'^^ (pair) and 'sort'^* 

" Cf. 2. 7. 83, note. 

"E. M. I. I. 179, 27; E. M. O. 2. 96. 

" E. M. O. 2. 109. 

^^ Discov. 9. 212. 

'"i. I. 99; E. M. I. I. 100, Act 5, sc. I (first ed.) ; E. M. O. 2. 26, 
109; C. R. 2. 210, 291; Poet. 2. 2,77, 408, 423, 435, 496, 510; Volp. 
3. i6s; Epi. 3. 331, 332, 365; B. F. 4. 339, 347; 5". N. 5. ISS, I57, 
187, 204, 255, 270, 291; N. I. 5. 411; M. L. 6. 15; Tub 6. 219; Mq. 
of Chr. 7. 260; /. Jones 8. no; Pembroke 8. 143; /. Donne 8. 200; 
Ep. 112 8. 216; Underw. 8. 338, 356; Discov. 9. 217. 

" I. 5. 176; 4. 2. 19; 5. I. 84; 5. 4. 64; 5. 5. 260; E. M. I. I. 25; 
E. M. O. 2. 21, 82 ; C. R. 2. 294, 345 ; Poet. 2. 467 ; Sej. 3. 49 ; Volp. 
3. 219; Epi. 3. 416; Alch. 4. 98, loi; Catil. 4. 193; B. F. 4. 458, 
459(5) ; D. A. 5. 18, 24, 30, 125; N. I. 5. 314, 341, Z7Z; M. L. 6. 9, 
58, 99; 5". 5. 6. 284; Mq. Blackness 7. 10; Mq. Hymen 7. 54, 64; 
Barriers 7- 77, 78; Hue and Cry 7. 96; Time Vindic. 8. 19; F. 
Isles 8. 65 ; Mq. Love's Tr. 8. 89, 90 ; Mq. Love's Welc. 8. 1 19, 133 ; 
Ep. 128 8. 228; Forest 8. 261; Underw. 8. 326, 352, 372, 380; 9. 10, 
54, 55, 60; Misc. 9. 324, 338. 

"4. 4. 5; 4. 8. I22(?) ; 5. I. 57; E. M. O. 2. 60; C. R. 2. 215, 
223, 340, 342; Poet. 2. 382, 389, 466; Sej. 3. 13; Alch. 4. 79; D. A. 
5. 9; S. N. 5. 194; 5. S. 6. 281; K. J. E. 6. 424, 431; Mq. Black- 
ness 7. 16; Mq. Beauty 7. 37; Mq. Hymen 7. 57, 73; Barriers 7. 
78; Hue and Cry 7. 96, 97; P. H. B. 7. 153; Love Freed 7. 193; 



xviii Introduction 

(company), to a smaller degree ; and 'humour '-^ occurs more 
often in the earlier plays. Regarding the last, references 
will be given only to four plays. It is recognized that 
'humour' was often used by other dramatists, Shakespeare 
especially. He used it twenty-six times in Merry Wives. 
But compare with this Jonson's total of seventy-seven 
found in Every Man Out. Sarrazin^^^ has given a pos- 
sible reason for the frequent use of 'humour' in Merry 
Wives. He believed that it, with other words, was intended 
as a sort of burlesque on Jonson's early mode of expression. 
Words that are purposely misused, both here and in other 
plays, are significant ; such are : 'ingratitude,'" 'ingenuity,'^* 
'legibly,'-^ 'corroborate,'^" 'hieroglyphic,'^^ 'intricate,'^^ 

Irish Mq. 7. 229; G. Age Restored 7- 254; P- R- 7- 305; P- A. 8. 43; 
F. Isles 8. 63, 6s; L. T. 8. 90; L. IV. 8. 137; Ep. 94 8. I97; Ep. 130 
8. 230; Underw. 9- 23, 38, 55; Misc. 9. 354- 

"■^2. 3. i; E. M. O. 2. 8, 178; Poet. 2. 496, 498; B. F. 4. 392. 

"i. 5. 21; E. M. I. I. 31, 95; E. M. 0. 2. 17, 43, 67, 86, 100, 137, 
186, 188; C. R. 2. 336; Poet. 2. 385, 430; Tub 6. 148. 

"-' I. I. 34, 90; I. 2. 14, 15; I. 4- 84; I- 5- 41, 86, 138, 157; 2. 2. 6; 
2. 3. 22; 4. 8. 88; 5- I- 67; 5- 2. 83; E. M. I. i. 8, 11, 25, 41, 44, 52, 
61, 62, 63, 77, 78(7), 83, 85, 87, 97, 104(3), 113, 121, 140; E. M. O. 2. 6, 
15(5), 16(4), 17(2), 18, 26, 28, 29(2), 33(2), 35(2), 36, 44, 48, S0(S), 
51(2), 53(3). 54, 60, 61, 72, 77, 87, 89, 90, 99, loi, 107, no, 113, 116, 
118, 122(3), 125, 134, 136, 142, 154(3), 155, 157, 158(2), 167, 168, 169, 
171, 173, 177, 179, 183, 186, 191, 195, 196, 197, 198; C. R. 2. 231, 
235(2), 238, 249, 270, 272, 280, 297, 304, 307, 309, 335, 357(3), 358, 
359; Poet. 2. 374, 385, 407, 415, 419, 424, 425, 430, 435, 448(2), 463(2), 
480, 493, 512, 519. 

^^ Jahrbuch 40. 213-22 ('Nym und Ben Jonson'). 

"4. 5. 56: E. M. I. I. 91 ('monster of ingratitude' was 'ingrati- 
tude wretch' in the first edition). 

-'2. 7. 5: E. M. O. 2. 95, 119-20, 121. 

"-' 5. 3. 57 : E. M. I. I. 30. 

'"2. 2. 42: E. M. O. 2. 143. 

'' I. 2. 7-8: C. R. 2. 233; Poet. 2. 486. 

"-4. 7. 169: C R. 2. 252. 



Authorship xix 

'aggravate,'^^ 'ambiguous,'^^ 'insinuate,'^^ 'epitaph.'^® Words 
like 'authentic'^^ (-al, -ally), 'bastinado,'^^ 'decorum,'^^ and 
'stinkard,'**^ are of less value; but their recurrence seems 
frequent enough to deserve notice. Abstract and other 
nouns*^ are often applied to characters. Two classes of 
'strange' words are frequently used. One*- is of a kind 
which is supposed to be unusual to the ears of the listener, 
for he usually repeats it as if he were struck by its strange- 
ness. The other*^ is of a kind which the speaker misuses, 
and the one addressed, or someone else, gives the correct 
word. 

The test was then made for Jonson's use of words of 
Greek or Latin origin, of three or more syllables.** Proper 
names, words in common use, such as 'presently' and 

^5. 3. 17-8: C. R. 2. 253. 

^*5. 5. 211: C. R. 2. 283. 

''2. 7. 156: C. R. 2. 29s. 

'" 2. 7. 9 : C. R. 2. 298. 

"4. 4. 11: E. M. O. 2. 130; C. R. 2. 228, 317; Poet. 2. 468; Epi. 

3. 383; Alch. 4. 7Z; D. A. 5. 57; S. N. 5. 175; Mq. Hymen 7. 53. 
''4. 7. 6: E. M. I. I. 35(3), 112, 114, 116; C. R. 2. 257; Poet. 2. 

497; Ep. 21 8. 155- 
^i. I. 87: C. R. 2. 327(2), 350; Poet. 2. 477; Epi. 3. 390; Alch. 

4. 179; B. F. 4. 354; N. I. 5. 329; M. L. 6. 8; H. of Wales 7. 319; 
Convers. 9. 366, 411. 

*'2. 7. 61: Poet. 2. 378, 426, 428, 430, 431, 436, 446, 447, 456, 463, 
482, 484, 486, 496; Alch. 4. 20, 98; Ep. 133 8. 236. 

«i. 5- 23, 26: E. M. O. 2. 52, 53(2), 141(2), 143(2), 148(2), 
154(2), 155(4), 169, 171(2), 177. 181; C. R. 2. 241(2), 261, 262, 268, 
270, 273, 274, 280(4), 281(4), 290(4), 291, 293, 294, 295, 299, 314, 
322(2), 347; Po^^2. 375; Catil. 4. 226. 

*" I. 2. 7-8; I. 5. 91 ; 2. 7. 79; 4. 7. 86-7 : E. M. I. 1. 35 ; E. M. 0. 
2. 51; C. R. 2. 216, 227, 269; Poet. 2. 381; D. A. 5. 36; S. N. 5. 
165(2), 263; A^ /. 5. 337, 344, 375; M. L. 6. 32; Tub 6. 126, 154, 
208. 

*^2. 2. 52; 4. 7. 190: E. M. I. I. 27, 65, 78, 82; E. M. O. 2. 119- 
20; C. R. 2. 270; 5". N. 5. i82; M. L. 6. 20; Tub 6. 131, 163. 

■•^Cf. Pierce, Collaboration of Webster and Dekker {Yale Studies 
Z7)- 



XX Introduction 

'gentleman,' and hig-h-sounding words, misused, and intro- 
duced merely for purposes of affectation, were disregarded. 
Compound words, and all other words of more than two 
syllables, whatever their prefix or suffix, provided their base 
was derived from a Greek or Latin original, were counted. 
The play best suited to be compared with The Case is 
Altered was obviously the first edition of Every Man In. 
Wherever the pages contained solid lines of prose or verse, 
an average count was made. Where the lines were broken, 
the words were counted. To get the percentage of poly- 
syllabic words, their number in the play was divided by the 
total number of words. In The Case is Altered, the total 
number of words is approximately i8,i6o; polysyllables, 
482; percentage of the latter, .0265. For Every Man In, 
the total is approximately 25,036 ; polysyllables, 623 ; per- 
centage, .0248. To have a better basis on which to judge 
these results, one act from a play of three contemporary 
dramatists was analyzed. Because it was longer than the 
first, the second act of Shakespeare's Tzvo Gentlemen of 
Verona was chosen. The results were: total number of 
words, 4,920; polysyllables, 109; percentage, .0221. The 
first act of Dekker's Shoemaker's Holiday gave : total num- 
ber of words, 2,012; polysyllables, 46; percentage, .0228. 
The first act of Chapman's All Fools gave : total number 
of words, 4,554; polysyllables, 150; percentage, .0329. 
The search was not inclusive enough to determine the 
exact percentage characteristic of each author, and the 
results are therefore suggestive, rather than conclusive. 
They will at least tend to show that the author of The Case 
is Altered and the author of Every Man In were not 
influenced to any great extent by unusual words of classical 
origin, but used the same moderation in their selection as 
was said to be the case in Jonson's selection of words in 
general. 

The characters in The Case is Altered that seem remin- 
iscent of Jonson are, of course. Juniper, Onion, and Jaques, 
and, to a smaller degree, Count Ferneze and Maximilian, 



Authorship xxi 

In the present play, Juniper and Onion are usually asso- 
ciated, the latter acting as a sort of foil to the former. 
Turning to the other plays, the dialogue between Cob*^ and 
Mathew, and Cob and Cash, strongly resemble those of the 
above pair. We find the same fluency and extravagance 
of language, the same nimble repartee, and a like recourse 
to puns and proverbs. Notice especially the words *har- 
rot,'*^ 'smell,'*^ 'legiblest,'*^ 'humour,'*^ 'ten thousand thou- 
sand of my kin' f^ the reference to the 'brazen head,'^^ and 
to plays f- the misuse of, and the punning on, words f^ and 
the meaningless quoting of proverbs.^* There is a remi- 
niscence of the two, again, in the characters of Clove^^ 
and Orange. Tucca's^** character may not resemble Juni- 
per's, but his extravagant language frequently does. Fur- 
ther evidence of this trait of Juniper's will be found in 
Shift,^''^ Moria,^^ Amorphus,^^ Crispinus,"'' Luscus,®^ and 
Hilts.«2 

The suspicious nature exhibited by Jaques is character- 
istic of Kitely.*'^ As in the case of the former, his house 

''E. M. I. I. 26-30; I. 77-80. 
*«4. 7. 189. 
"4. 7. 45. 
*' 5. 3. 57. 
^ I. 2. 15. 
'U. 3. 15-6. 
"4. 3. 82-3. 

'' r. I. 88 ff. ; 2. 7. 28 ff. 

^Esp. 2. 2. 1-S4; 2. 7. 1-158; 4. 5. 1-64; 4. 7. 1-198; 5. 3. 1-103. 
'' I. I. 21 ; I. 3. 43; 4. 5. 28; 4. 7. 142-3, 160-8; 5. 3. 48. 
'' E. M. O. 2. 88-96. 

'"Poet. 2. 378, 382, 384-5, 428-9, 433, 446. 
^^ E. M. O. 2. 102-3, 140, 143. 
'" C. R. 2. 252-4, 281-2, 29s, 298. 
'" C. R. 2. 283. 
'" Poet. 2. 408. 
^^Poet. 2. 374-5. 
"' Tub 6. 145-6. 

•^2. I. 1-65; 3. 2. 1-52; 3. 3. 1-50; 4. 7. 62 ff. : E. M. I. I. 40-6, 
70-2, 76-7, 89-90, 103-5. 



xxii Introduction 

is the meeting-place of numerous gallants, who keep him 
in a state of continual fear of being tricked. Volpone has 
the same veneration for his money, and addresses his 'saint' 
in language which is strikingly similar to that of Jaques.®* 
The sentiments uttered by Sir Moth*'^ are of the same order, 
and his search for the supposed wealth buried in the garden 
is a reminiscence, though slight, of the hiding-place of 
Jaques' money. 

Some of the intolerance and impatience of Count Ferneze 
is shown by Justice Clement.®^ His attitude toward Cob, 
seen in his irritation and language, is not unlike that of 
the Count toward Onion. Later in the play, another side 
of his character is revealed, his geniality. This too has its 
counterpart in Count Ferneze.*"' Another character, without 
the sense of humor of the Count, but with his traits of 
impatience and temper greatly magnified, is Morose.^* 
Both, though beyond middle age, are bent on marriage,^^ 
and, in both cases, the venture is unsuccessful.'*' The 
absurdity of such a step on the part of the Count in com- 
peting with his steward, is turned to ridicule in the case 
of Morose. 

In Maximilian'^^ we have the vainglorious type, not so 
pronounced, to be sure, but sufficiently developed to be 
classified. On one occasion, in his argument with Count 
Femeze, he shows himself to be somewhat of a bully, too. 
Men of this type, met with in Jonson's other plays, are 
Bobadill,'- Puntarvolo,"^^ Tucca,'^^ and Ironsides. ^^ 

"2. I. 28-31; 3. 5. 16-26; 4. 7. 134-41: Volp. 3. 166-7. 

''M. L.6. 41-3, 97-103. 

'"i- 5- 1-53; 4- 8. 1-95; 5. 5. 1-22: E. M. I. I. 91-3. 

"2. 5. 1-24: E. M. I. I. 138-45. 

""Epi. 3. 352-61. 

^2. 6. 36-50; 3. 3. 1-50: Epi. 3. 371-6. 

™3. 4. 18-22, 51-4: Epi. 3. 476. 

"i. 3- 30-9; 4- I. 1-47; 4. 8. 1-81. 

''E. M. I. I. 35-8, 64-5, 1 12-9. 

"£. M. O. 2. 5 ('Characters'), 129-31, 179-83. 

''*Poet. 2. 384-6, 420-39. 

■"M. L. 6. 51-3, 65. 



Authorship xxiii 

Besides the recurrence of certain types of characters in 
Jonson's plays, some light may be thrown on the subject 
of authorship by considering the method he follows 
in naming them. The custom of naming a character to 
reflect his personality was common, but the persistent prac- 
tice of punning on the name seems to have been more 
common with Jonson. It is true that Shakespeare adopted 
this plan to some extent, especially in two plays.''® As 
to his other plays, ^^ only a few have indications of it. Of 
other leading contemporaries, who were writing about 1598, 
and who followed this device of naming characters, Mid- 
dleton'^* may be mentioned ; but he rarely puns on the 
names. In the case of Chapman,^** Dekker,^" Marston,^^ and 
Heywood, there is only an occasional play with a name of 
this kind, and the punning is correspondingly less. A few 
references have been given to show the nature of the puns, 
and, approximately, the extent to which the custom was 
followed. In the case of Jonson,^- it would sometimes seem 

''"2 Hen. IV 2. I. 27 (Fang, Snare) ; Pistol: 2. 4. 120, 146; 5. 3. 
130 (and Heyi. V 2. i. 55) ; 2 Hen. IV 3. 2. 99, 119, 140, 152, 179, 
187 (Silence, Mouldy, Shadow, Wart, Feeble, Bullcalf ) ; M. N. D. 
I. 2. ID, 66 (Quince, Snug) ; 3. i. 186 ff. (Cobweb, Peaseblossom, 
Mustardseed) ; 4. i. 221 (Bottom). 

" Meas. for Meas. 2. i. 48, 59, 214, 228 (Elbow, Froth, Pompey) ; 
L. L. L. 3. I. 71, 107 (Costard) ; 5. i. 156, 162 (Dull). 

''^ Blurt, Master-Constable, Wks. i. 23 (Pilcher) ; Michaelmas 
Term, Wks. i. 221, 225, 230, 239 (Lethe) ; i. 222 (Falselight) ; i. 
259 (Easy); Family of Love, Wks. 3. 41, 42 (Purge, Gudgeon); 
Chaste Maid, Wks. 5. 27, 91 (Touchwood). 

"^All Fools, Wks. I. 157 (Pock). 

^° Roaring Girl (with Middleton), Wks. 3. 143, 145, 149, 190 (Gos- 
hawk, Green-wit, Trap-door, Hanger). 

^'^ Eastward Hoe (with Jonson and Chapman), Wks. 3. 94, 95 
(Quicksilver). 

^5- 3- 23 (Juniper) ; Onion: i. i. 97, 156; i. 5. 55-6, 58-9; 2. 7. 
104-5; 4- 3- 14-6; 4- 5- 36-7; 4- 7- 70-2, 134, 158; 5. 3- 22; 5. 5- 
234: E. M. I. I. 27, 79 (Cob) ; 93 (Bobadill) ; E. M. O. 2. 59, 105 
(Fungoso, Whiffe) ; 89 (Orange, Clove) ; C. R. 2. 225, 248 (Amor- 
phus) ; 234, 248 (Cos); 235, 247 (Prosaites) ; 238, 263 (Hedon) ; 
242, 263 (Anaides) ; 250 (Argurion) ; 260 (Crites) ; 295 (Morus) ; 



xxiv Introduction 

as if the name were chosen for the opportunities it gave 
for punning. 

Dryden^^ has referred to Jonson's frequent practice of 
describing a character^* before he appears. The same may 
be said of characters'^ who have appeared for a moment, 
and retired, or of those who have just entered. 

Jonson's favorite situations, as they concern the present 
play, are chiefly those that characterize a prevaihng humor.'^ 
Of the latter, the more prominent are travel, apparel, her- 
aldry, tobacco, fencing, and courtship. A mere glance 
through his early plays will show how frequently and how 
thoroughly he treats these subjects. One of his characters 
is made to typify a particular 'humour,' and he contributes 
an important part to the theme that motivates the play. 

The Case is Altered is not a study of humors on the same 

Poet. 2. 483 (Lupus) ; Volp. 3. 176, 182 (Volture, Corbaccio) ; B. F. 
4- 361 (Quarlous) ; 362, 368 (Littlewit) ; 366-7 (Waspe) ; 371 
(Cokes) ; 389 (Ursula) ; S. N. 5. 193, 212-3 (Wax) ; 199 (Mad- 
rigal) ; 199-201 (Pecunia) ; N. I. 5. 308, 309 (Heart) ; 316-7 
(Ferret) ; 324 (Lovel) ; 333, 354 (Trundle) ; 334-5 (Fly) ; 336 
(Tipto) ; 342 (Lsetitia) ; 353-8 (Pierce, Jug, Jordan, Peck); 361 
(Bat) ; 382 (Stuff) ; M. L. 6. 14 (Steel) ; 14, 50 (Palate) ; 16, 51 
(Compass) ; 17, 44 (Silkworm) ; 18 (Loadstone) ; 19 (Polish) ; 
26-7 (Bias) ; 32, 73 (Needle) ; Tub 6. 128 (Tub, Zin) ; 134-5 
(Clay); 135 (Turfe) ; 136-7, 179 (Metaphor); 138 (Polecat). 

^^ Essay, Dramatic Poesy (Wks. 15. 353, ed. Saintsbury). 

**l. 3. 30-9 (Maximilian); i. 4. 7-17, 84-9 (Angelo, Count 
Ferneze) ; E. M. L i. 29-30 (Bobadill) ; 35 (Downright) ; 40-1 
(Wellbred) ; 83 (Clement) ; E. M. O. 2. 53-4 (Puntarvolo) ; C. R. 
2. 238-40 (Hedon) ; Poet. 2. 375 (Tucca) ; Epi. 3. 337 (Collegiate 
Ladies) ; 341-3 (Morose) ; 346-7 (Daw) ; 347-8 (La-Foole) ; B. F. 

4. 364-5 (Busy) ; 367-8 (Cokes) ; D. A. 5. 36-7 (Meercraft) ; 5. N. 

5. 165 ('Emissaries') ; 183-4 (Pecunia) ; N. I. 5. 319-20 (Lady 
Frampul) ; 334-5 (Fly); M. L. 6. 15 (Rut); 24 (Moth). 

^'i. I. 34-8 (Onion): E. M. O. 2. 27-8, 37-8 (Macilente) ; 38-9 
(Buffone) ; 51-2 (Fastidious) ; C. R. 2. 242-4 (Anaides) ; 247-9 
(Amorphus, Asotus) ; 249-50 (Crites) ; 250-1 (Argurion) ; 252, 
253 (Moria, Philautia) ; M. L. 6. 14-5 (Palate) ; 23-4 (Silkworm, 
Practice); 24-5 (Bias). 

'' Cf. E. M. O. 2. 16. 



Authorship xxv 

scale as are some of Jonson's plays. Here they may be 
regarded as only sketched. As to travel, Valentine^' is the 
traveler, and though personally he is not made ridiculous, 
his appearance usually evokes a thrust at travel. Puntar- 
volo,^^ Amorphus,^^ and, to a smaller degree, Politick and 
Peregrine,''" are the best examples of this type. After 
Juniper and Onion had found Jaques' gold, they decided 
to be 'sumptuously attired.' Fungoso and Fastidious Brisk 
represent extremes of this 'humour.'®^ Having decided 
on apparel, another requisite of a gentleman was a coat-of- 
arms. The aspirations of Sogliardo^^ in this connection v^ill 
be remembered. Other instances are to be found in the 
characters of Cob,^^ Crispinus,^* La-Foole,^^ Piedmantle,^*^ 
and Pecunia. There is just a passing reference to tobacco 
in our play, and this is not by a smoker, but by one of the 
female characters. Sogliardo,^^ Shift, and Fastidious Brisk 
are notable examples of this reputed accomplishment of a 
gentleman. References to others,®^ however, are frequent. 
Fencing is another accomplishment which was extensively 
ridiculed by Jonson, and Bobadill^'' is the central figure. 

''l. 2. 22-34; 2. 7. 34-5, 54-8; 5. 3. 44-6, 86-7. 

**£. M. O. 2. 5 ('Characters'), 58, 70-1, 105, 129-31. 

^ C. R. 2. 226-7, 230-2, 248, 273, 291-2, 319. 

^ Volp. 3. 196-202, 259-66. 

°'4- 7. 181-6; s. 3. 1-103; 5. 5. 205-43: E. M. O. 2. 6. 7 ('Char- 
acters'), 63-9, 79-83, 85, 99, 1 16-7, 123, 148, 152, 156, 168, 190-1 ; 
cf. E. M. O. 2. 30; 5". A^. 5. 162-8; M. L. 6. 54. 

"^4. 7. 187-94: E. M. O. 2. 7 ('Characters'), 35-6, 91, 96-8; cf. 
Nason, Heraldry. 

""E. M. I. I. 26. 

^*Poet. 2. 394-5. 

''Epi. 3. 350-1. 

"" S. N. 5. 192-3 ; 263-4. 

"2. 3. 13: E. M. O. 2. 6, 7 ('Characters'), 89, 93-4, 105-7, 116-22, 
132-3, 153, 161-2, 181. 

°*£. M. I. I. 30, 83-8, 92-4; C. R. 2. 209, 243; Epi. 3. 409; Alch. 

4. 35-7, loo-i ; B. F. 4. 387, 404-7; D. A. 5. 143. 

■^2. 7. 1-29, 89-158: E. M. I. I. 35-8, 64-8, 1 12-8, 126; cf. E. M. 0. 
2. 102-4, 145-7; C. R. 2. 313-35; Epi. 3. 434-6; Alch. 4. loi; D. A. 

5. 78, 124; N. I. 5. 338-40; M. L. 6. 62-9. 



xxvi Introduction 

The allusions to fencing terminology are a characteristic 
feature. Of Jonson's favorite situations, those that deal 
with courtship remain to be considered. The fantastic 
mode of courtship indulged in by Pacue and Finio^°° was 
ridiculed more extensively in Cynthia's Revels. Puntar- 
volo's^**^ curious addresses to Lady Puntarvolo are another 
example. The contest which Lovel^"^ waged to win the 
favor of Lady Frampul is of a more serious order, but it 
is worthy of note. Then there are some examples of a 
minor nature suggested by the exchange in courtesies 
between Francisco^**^ and Angelo and the two sisters. 

In the test of prosody, the attention was first turned 
toward determining Jonson's use of feminine endings. 
Four plays, besides the present one, were studied : E. M. I. 
(first and revised editions), E. M. O., C. R., and Poet. To 
secure tlie percentage of feminine endings, the number of 
lines showing these were divided by the total number of 
metrical lines. The results were as follows : The Case is 
Altered, 1,259 metrical lines, 248 with feminine endings, 
percentage, .197; E. M. I. (first ed.), 568 metrical lines, 108 
feminine endings, percentage, .190; E. M. I. (revised ed.), 
679 metrical lines, 179 feminine endings, percentage, .263; 
E. M. O., 694 metrical lines, 167 feminine endings, percent- 
age, .240; C. R., 756 metrical lines, 67 feminine endings, 
percentage, .088; Poet., 889 metrical lines, 149 feminine 
endings, percentage, .167. The average percentage for all 
the plays, exclusive of the present play, is .187. The low 
percentage of C. R. at first seemed surprising; but, on com- 
paring scenes of a high percentage of feminine endings 
with those of a low percentage, it was found that the 
latter were invariably more lofty in theme. 

""4.3. 1-83: C. R. 2. 302, 312-35. 
^°'E. M. O. 2. 54-61. 
'"" .V. /. 5. 346-52, 363-72, 385-95. 

'"^2. 4. 1-69: E. M. O. 2. 118-22, 163-8; C. R. 2. 282-93; -S". N. 
5- 251-9. 



Authorship xxvii 

An analysis was then made of one play each of three 
contemporaries, to form a basis on which to judge the above 
results. Shakespeare's Two Gentlemen of Verona, with 
458 metrical lines, 76 feminine endings, has a percentage 
of .165; Dekker's Shoemaker's Holiday, 979 metrical lines, 
64 feminine endings, percentage, .0653; Acts i and 2 of 
Chapman's All Fools, 961 metrical lines, 283 feminine end- 
ings, percentage, .294. The results here, as they concern 
Jonson, are similar to those gained in the polysyllabic test. 
While there is a tendency to use feminine endings, it does 
not reach the number found in Chapman, nor the low 
percentage noticed in Dekker. 

The play contains many metrical peculiarities that are 
found elsewhere in his works. As Wilke has made a 
detailed study of the prosody of Jonson, his work will be 
referred to for examples from these. Some of the peculi- 
arities are : the accent on the first syllable of some disyl- 
lables,^"* and on the second of others, ^"^ where the reverse is 
the rule ; the accent on the last syllable of compound^"® 
words ; the accent on the articles,^**^ pronouns,^"^ and on 
'|.q'io9 q£ ^^ infinitive; the use of a monosyllabic^^^ foot at 

"* Austere 2. 3. 27; discharge 2. 6. 19; betwixt 3. 2. 39; 5. 5 
23; enjoy 3. 3. 33; unjust, unkind 5. 5. 31, 33 (Wilke, pp. 39-44) 

'"^Arguing i. 4. 46; gaping i. 5. 23; using 2. 4. 30; having 3 
2. 10; envies 3. 5. 9; conjured 5. i. 74; justice 5. 5. 45 (W., pp 
34-6). 

""Godfather 5. 5. 128; threadbare 2. i. 9; fourteen 2. 5. 
horsedung 3. 5. 13 (W., pp. 29, 32). 

'"i. 4. 31, 48, 75; I. 5. 169; 2. I. 2, 7, 60, 64; 2. 5. 19; 2. 6. 19 
31, 32; 3- 3- 38; 3- 4- 13, 22, 46; 4. I. 33; 4. 8. 78; 5. I. 10; 5. 2 
i; 5. 4- 18, 6s; 5. 5. 113 (W., pp. 19-20). 

"*i. 4. 20, 53; I. 5. 169, 193; 3. 4. 34, 35; 3. 5. 16, 26; 4. 7. 107 
5. 4- 48; 5- 5- 24, 25 (W., p. 21). 

"»i. 4. 88; I. 5. 152, 214; 2. 3. 29; 3. 2. 19; 3. 3. 13; 3. s. 4 
4. 2. 66 (W., p. 20). 

""No I. 5- 3; I (ay) i. 5- no; 'Sblood 5-4-9; Then 5. 5. 133 
(W., p. 50). 



xxviii Introduction 

the beginning of a line ; a polysyllabic^ ^^ foot at the end of a 
line; a pause^^- before an interjection ; and two trochees^^^ 
in a line. 

In order to have a visible demonstration of the various 
elements of the five tests used in the above discussion, the 
text of The Case is filtered was marked wherever there 
was a resemblance to the known works of Jonson. All the 
scenes show some degree of marking. In many, the marks 
are quite numerous, representing more tlian one test, and 
having several examples of the same test. This is espe- 
cially true of the parallel passages in the first, second, and 
fourth acts. The third act, and tlie fifth, excepting scene 
2, do not have so many of these, but in other respects tlie 
average is about tlie same. There are more parallel pas- 
sages noticeable in the prose than in the verse, but the dif- 
ference is small enough to be negligible. As regards 
diction, the prose has nearly twice the number of markings 
found in the verse, a circumstance which is not surprising, 
when the character of tlie words is considered. The mark- 
ings are not confined to any particular plot, a fact which 
would tend to disprove tlie presence of a collaborator. 
The parts that deal with the Ferneze-interests are as 
prominent in this respect as those dealing with Jaques, and 
both are almost as extensively marked as the passages that 
concern Juniper and Onion. 

The evidence which has been submitted, while not prov- 
ing conclusively that Jonson wrote The Case is Altered, yet 
seems to favor tliis conclusion. W^ords and phrases tliat 
constantly reappear under conditions that are similar must 
have some weight, however small ; for it will be admitted 
that writers either from choice or by accident are prone to 

^" Presenth' i. 4. 61; armory, melancholy i. 5. i, 160; memory, 
ceremony 2. 4. 44. 30; courtesies 3. 5. 26 (W., pp. 47-8). 

"■'Boy, God. hark i. 4. 20, 59, 77: love i. 5. 215: faith 2. 3. 13 
(W.. pp. 50-1 V 

"^Any. flowing i. 5. 63; Rachel open i. 5. 255 (\V.. p. 46). 



Date xxix 

repeat themselves. The same may be said of characters 
and situations. In the case of Jonson, these have special 
significance, since his type of satiric comedy v;^as peculiar. 
The characters that have been mentioned, but especially 
Jaques, Juniper, and Onion, would fit very well into a play 
such as Every Man In or Every Man Out. The two^^* 
scenes which refer to the character of the drama and of the 
audiences of his day are quite in line with the criticisms 
we find in his inductions and prologues. That one or both 
may have been later insertions does not detract from 
their value as evidence. On the contrary, their value is 
increased. An arraignment of this kind, inserted at a later 
date, would have more reason for its existence, and would 
suggest the opposition that Jonson encountered from his 
critics, a situation which was not so acute when he wrote 
this play. Finally, and by no means the least valuable 
as evidence, was his familiarity with the classical writers,^^^ 
and his recourse to them, especially to Plautus, for material 
for his dramas. 

C. Date 

The Case is Altered has two entries in the Stationers' 
Register. The first is on January 26, 1608/9: 

, .. Entred for their Copye vnder the handes 

^ of master Segar deputy to Sir George 
Richard Bonion ^ucke and of the wardens a booke 
called. The case is altered. 

The second entry is dated July 20, 1609: 

„ ,,, .. Entred for their copie by direction of 

■n . 1 J Ti master Waterson warden, a booke called 

Richard Bonyon , , , , • , -r, , , 

T, ,, 1 the case altered whiche was Entred for 

Bartholomew ^, x -sw n j t^- 1 j -r, 

(^ H(enry) VValley and Richard Bonyon the 

26 of January (1609) last. 



I. I. 86-112; 2. 7. 28-88. 

Cf. Schelling i. 538; Symonds, Ben Jonson, pp. 51-3. 



XXX Introduction 

From the evidence we possess at present, it cannot be 
definitely determined when the play was written or first 
acted. All attempts to establish a date begin with two 
references. In our play (i. i. 107-8), Onion tells Antonio 
Balladino that he is in print as the 'best plotter.' In the 
Palladis Tamia,^ published in 1598 by Francis Meres, and 
entered on the Stationers' Register on September 7 of that 
year, there is a reference to 'Anthony Mundye, our best 
plotter.' It is generally agreed that Jonson alludes to the 
passage mentioned by Meres. The second reference is 
found in Nashe's^ Lenten Stuffe, entered on the Stationers' 
Register on January 11, 1598/9, and published in 1599. 
The reference is clearly to Juniper of our play, and reads : 
'Is it not right of the merry coblers cutte in that witty Play 
of the Case is altered?' 

Jonson's reference to a work registered in September, 
1598, and Nashe's allusion to Jonson's play in the January 
following, would seem to fix the date between these two. 
But the problem is not so simple as this. BaskervilP has 
well stated the difficulties which arise from such a conten- 
tion : 'Lenten Stuffe was in all probability completed when 
it was entered on the Stationers' Register, and it hardly 
seems possible that in the four mouths from September 7 
to January 11 Meres's work was published, Jonson's play 
written and probably acted, and Nashe's work prepared, 
with time for Jonson to make a reference to Meres and 
Nashe to Jonson. The hypothesis that the passage satiriz- 
ing Munday was added after the first production of The 
Case is Altered seems most reasonable.' Furthermore, the 
manner in which Nashe refers to the play would seem to 
indicate that it was well known, and not a recent work. 

^ Smith, Eliz. Crit. Essays 2. 320; Ingleby, Shak. Allusion-Books, 
p. 161. 
~ Works 3. 220. 
^English Elements, p. 91. 



Date xxxi 

Opinions vary as to when it first appeared. Gifford* 
thinks it possible that the plot of a play that Jonson showed 
to Henslowe, and for which he received an advance of 
twenty shiUings on December 3, 1597, might refer to The 
Case is Altered. Both BaskervilP and Small® are inclined 
to believe that the original version was on the stage by the 
end of 1597, or early in 1598. Fleay'' says it was performed 
at the Blackfriars in November, 1598, but does not say 
whether he regarded this as its first performance. Because 
of its reference to the Palladis Tamia of Meres, Collier* 
and Ward^ assign the play to a time subsequent to this. 
Wheatley's^" reasons are apparently the same, for he places 
it in 1599. Referring to its early authorship, Lounsbury^^ 
says it was written by 1599, when it was referred to by 
Nashe. In view of its reference to Meres, and because of 
the allusion to it by Nashe, Castelain^^ is inclined to fix the 
date of the first performance about December, 1598. He 
admits, however, that it might have been performed earlier 
that year. This brings us to the discussion of tlie other 
view — that the original play was written before Meres' 
publication, and that the part which refers to the latter, 
and which was clearly intended to satirize Anthony Mun- 
day, was inserted at a later date. This view has much in 
its favor, and has been advocated by such scholars as 
Aronstein,^^ Koeppel,^* Castelain,^^ Fleay,^® Baskervill," and 

^ Wks. I. xliii-iv; cf. Diary i. 27, 43 (ed. Greg). 

'^English Elements, p. 91. 

^Stage-Quarrel, p. 17. 

'Stage, p. 153. 

^Annals i. 342. 

^History 2. 344, 350. 

^'^ Every Man In, 1877, p. xii. 

^Shakespeare, p. 26. 

^ Ben Jonson, p. 193. 

^^ Ben Jonson, p. 21. 

'^* Quellen-Studien 11. i, 109, 123. 

" Ben Jonson, note, pp. 193-4. 

^^ Drama i. 357; Stage, p. 153. 

^'' Eng. Elements, pp. 90-1. 



xxxii Introduction 

Courthope.^^ By assigning the play to an early date, prob- 
ably antedating Every Man In, Gifford/^ Swinburne,-'' 
Schelling,-^ Symonds,^^ and SmalP^ may be said to hold the 
same opinion. 

In support of a later insertion, the most reasonable argu- 
ment is that, after his first entry, Balladino disappears from 
the play. The force of the argument is strengthened by 
the fact that the incident is found in the opening scene, a 
place customarily utilized to explain to the audience the 
previous history of the action, and briefly to mention such 
facts about the characters or about the existing state of 
affairs as will make clear what is to follow. In the original 
draft of the play, it is not likely that Jonson would have 
introduced, at such a point, an incident that had no future 
bearing on its development. With a play, however, which 
had not satisfied him — and this seems to be the case with 
the present one — he might have had no such scruples. As 
evidence of such an alteration, the text itself has an appar- 
ent discrepancy, noticed also by Aronstein.^* In the open- 
ing scene (i. i. 37-8), a request is made of Balladino for 
a 'posy' for Onion, to be given to Rachel. Later in the 
play (4. 3. 7, 1 1-2; 4. 5. 32-47), Onion complaints of Val- 
entine for not composing the promised ditty. 

Many circumstances that point to an early authorship of 
our play, and which would, therefore, tend to strengthen 
the view that it existed in some form before its reference 
to Meres was inserted, also bear upon the interesting ques- 
tion of its priority to Every Man In. When contrasted 
with the latter, the most noticeable feature about The Case 

^^ Hist. Eng. Prosody 4. 269-70. 

^^Wks. 6. 300; cf. Wks. I. xliv (note 6). 

^ Ben Jonson, pp. 9, 12. 

^^ Eliz. Drama i. 477-8. 

^' Ben Jonson, p. 16. 

^ Stage-Quarrel, p. 17. 

'* Ben Jonson, p. 17. 



Date xxxiii 

is Altered is its immaturity. This is evident from almost 
every angle from which the play may be regarded. First, 
consider the selection and treatment of the sources. Jon- 
son was not accustomed to be so dependent upon others 
for his plots-^ as he is in this case. As early as Every 
Man In, his independence in this respect is noticeable. 
The slight changes in the major episodes borrowed from 
Plautus, and the presence of numerous sub-plots to offset 
the undeveloped portions of these, would seem to indicate 
the work of a novice. Characters such as Camillo, the two 
sisters, and even Rachel, are merely sketched, and there are 
possibilities for eft'ective dramatic treatment in situations 
in which they are concerned, which receive little, if any, 
notice. The same immaturity is apparent in the use of the 
so called dramatic unities. His insistence on these,-*^ at a 
period when their observance was lightly regarded, and the 
influence this exerted on the later drama,^^ is well known. 
The selection of the Ca/'^iVi-episode from Plautus made a 
strict adherence to the unity of time impossible, and the 
union of this with the plot of the Aulularia, though it makes 
the infringement on the unity of time less noticeable, yet 
disturbs the unity of action. That Jonson selected material 
which inherently possessed elements that would violate the 
unities, tends to show that at that time he had not definitely 
formulated those rules regarding them which he advocated 
later.^^ Another feature of the play which reveals the 
immaturity of the author, and which indicates an apparent 
testing of his powers, is noticeable in its type. There is a 
clear wavering between two types — on the one hand, 
romantic comedy, which was dictated by the taste of the 
day, and, on the other, 'humour'-comedy, dictated by 

" Cf. Schelling i. 536-42; Symonds, Ben Jonson, p. 52. 
^Cf. Lounsbury, pp. 25 fif. 
"^/ft., pp. Z7 ff. ; Buland, pp. 44-5, 49- 

^Discoveries 9. 225-6; Ind. Every Man Out 2. 21-3; cf. Magnetic 
Lady 6. 2O-9. 



XXXIV 



Introduction 



the author's personal inclination. In the latter respect, the 
attempt is evidently experimental, and falls far short of 
the confidence and mastery exhibited in Every Man In. 
Regarding the points which have been mentioned — the 
manner of securing a plot, the treatment of characters and 
situations, the observance of the dramatic unities, and the 
lack of confidence exhibited in wavering between two types, 
it will be granted that The Case is Altered is decidedly 
not an improvement over Every Man InP Where the 
former shows tendencies of immaturity, the latter indicates 
an author who has approached nearer to the fullness of his 
powers. 

At present, it seems to be generally agreed among scholars 
that Every Man In was first produced in 1598,^" as Jonson 
stated in the last leaf of the folio of 1616. In view of this, 
if it is contended that The Case is Altered was written 
after the Palladis Tamia of Meres (registered September 
7, 1598), Jonson would have been working on two plays 
at the same time. This in itself would not be impossible, 
but, when the difference in workmanship is considered, it 
seems improbable. Judged by this fact alone, it is unlikely 
that The Case is Altered was written after Every Man In. 
Jonson was not uncertain of his field or his powers when 
he was writing the latter, and to assert that it preceded our 
play would seem like an admission that he had retrograded. 
From such evidence as we possess, circumstantial or internal, 
it seems reasonable to infer that The Case is Altered 
preceded Every Man In, and that the original version 
appeared about the latter part of 1597. 

"'■' Cf . Castelain, p. 194, and note. 

^^ Aronstein, Ben Jonson, p. 27; Koeppel, Wirkung, p. 109. 



The Satire xxxv 

D. The Satire 
I. Anthony Munday 

Irrespective of the question of a later interpolation, the 
part dealing with Antonio Balladino is clearly intended 
to allude to Anthony Munday. Jonson seems to have been 
careful that there should be no mistake about the identifica- 
tion. The name of Balladino is doubly suggestive, refer- 
ring to Munday's activity as a writer of ballads, and to his 
Palladino of England, translated from the French. Bal- 
ladino was 'pageant-poet' to the City of Milan, and Mun- 
day held the same office in the City of London. Add to 
these, Munday's characterization by Meres as the 'best 
plotter,' and Jonson's use of the same phrase in reference 
to Balladino, and the latter's identity seems reasonably 
certain. 

The motive usually given for Jonson's ridicule of Mun- 
day lies in the apparent distinction conferred on the latter 
by Meres as 'our best plotter.' Two references will be 
sufficient to show the character of the argument. Speak- 
ing of the title given to Munday, Collier^ says : 'This pref- 
erence seems to have excited the ire, if not the envy of 
Ben Jonson.' Hazlitt,^ in the same connection, says that 
this was 'a distinction that excited the spleen of Ben 
Jonson in his "Case is Altered," more particularly, as he 
was omitted.' Another reason for the satire is proposed 
by Koeppel.^ He suggests that Jonson's resentment against 
Munday may possibly have been due to a passage in his 
Downfall of Robert Earl of Huntington,'^ in which there 

^ John a Kent, p. xHx, Shak. Soc, London, 1851. 
^Downfall, Introd. 8. 99-100, Dodsley, 1874. 
' Wirkung 20. 123-7. 
*8. 135-6, Dodsley, 1874: 

'Ral. Ye protract, Master Friar. I obsecrate ye with all 

courtesy, omitting compliment, you would vouch or deign to 

proceed. 



xxxvi Introduction 

appears a faint imitation of Juniper's use of high-sounding 
words ( 1 . 2. 6 ft". ) . 

The provocation for ridicuUng Munday must have been 
strong. If it is a fact that the satire is a later addition, 
Jonson was put to some labor in recasting the play. On 
the other hand, if the present version is the original, it will 
be admitted that, as Balladino appears only in the opening 
scene, Jonson went out of his way to attack him. In either 
case, it may be inferred that there were doubtless stronger 
reasons for Jonson's displeasure than either Munday's faint 
imitation of his work or the title given to the latter by 
Meres, which in itself was probably not indicative of any 
special preeminence. Regarding this, the Reverend Ronald 
Bayne^ says that Munday was spoken of as ' "our best 
plotter," perhaps because of his seniority and experience 
as a hewer and trimmer of plays rather than with any 
reference to his faculty for conducting a plot in the modern 
sense of the term.' Munday may have offended Jonson by 
some personal slight, or by some derogatory reference to 
one of Jonson's early works, evidence of which either has 
been lost or has not yet been detected. That Jonson had 
written plays before this time may be inferred from the fact 
that Meres'* includes him among the prominent waiters of 
tragedy. Another factor which may have influenced the 
satire was the difference in ideals and work of the two 
men. Munday's activities, especially with romances^ and 

Friar. Deign, vouch, protract, compliment, obsecrate? 
Why, goodman Tricks, who taught you thus to prate? 
Your name, your name? Were you never christen'd? 

Ral. My nomination Radulph is, or Ralph : 
Vulgars corruptly use to call me Rafe. 

Friar. O foul corruption of base palliardize, 
When idiots, witless, travail to be wise. 
Age barbarous, times impious, men vicious !' 

" Cambridge Hist. Eng. Lit. 5. 348. 

' Palladis Tamia, p. 161 (Ingleby, Shak. Allusion-Books) . 
'' Cyn. Rev. 2. 269; Alch. 4. 146; New Inn 5. 325; Underwoods 
8. 400. 



The Satire xxxvii 

ballads,^ included a species of composition for which Jon- 
son had small regard, and which he frequently ridiculed. 
His work was mediocre, characterized by a lack of origi- 
nality, and produced chiefly to meet the popular taste. 
Jonson, as we know, departed from the prevailing type of 
drama, and strove to create a taste for his own particular 
kind of work." He endeavored also to eliminate from the 
drama the buffoonery and extravagance which often char- 
acterized it, and, at the same time, by a more dignified 
appeal, to set before his audience right standards of con- 
duct. To a large extent, Munday's works contained those 
elements which Jonson opposed, and in this fact we may 
find, not perhaps the leading cause for the satire, but at least 
a contributing motive. 

The satire is humorously treated, giving no sign of any 
special bitterness, but its thoroughness must have been 
none the less effective. Munday's character, standing, and 
work are held up to ridicule. According to Juniper, Bal- 
ladino is exactly of the same 'humour' as Onion, and then 
he proceeds to call tlie latter a rascal and a dunce. Onion's 
reference to scholars, made to include his visitor, may be 
suggestive of pretensions of this nature made by Munday. 
In spite of the allusion to his ability as a pageant-poet, he 
seems to have been quite successful in this field. Refer- 
ences to Munday's works and their character are more 
numerous. In 1593 he had published his Paradoxes. That 
Onion's love-ditty is called a 'paradox' is therefore sig- 
nificant. No doubt many of his pageants were made up of 
'stale stuff,' and the same may be said of portions of his 
plays that have come down to us. The 'old decorum' no 
doubt alludes to pretensions on the part of Munday that 
he followed Greek and Latin writers. In regard to the 
unity of time, this is perhaps true, especially with regard 
to two plays that were anterior to 1598 — Two Italian Gen- 

* Cf. note on i. i. i. 

° Aronstein, Theorie des Lustspiels, pp. 482-3 ; Symonds, Ben Jon- 
son, p. 31. 



xxxviii Introduction 

tlemen, licensed 1584, and John a Kent and John a Cumber, 
dated 1595. There were no 'kings and princes' in Jon- 
son's plays. The popular romances had already contributed 
their share to the English drama, but Munday still busied 
himself with them, not so much in connection with his 
plays, perhaps, as in translating and keeping them before 
the public. It will be remembered, too, that Jonson disliked 
the species of buffoonery and low form of wit practised 
by the 'fool.'^" Balladino's statement that he would not raise 
his 'vein,' even for 'twenty pounds a play,' is regarded to 
be an apt stroke,^^ considering Munday's grade of work, 
and the fact that such a price at this date was beyond that 
received by any dramatist. His dependence on the plot to 
insure the success of the play was, as is well known, quite 
at variance with Jonson's views.^^ 

It is believed by some^^ that Balladino's reference to plays 
which are composed of 'nothing but humours' is clearly 
an allusion to Every Man In. This is probably true, for 
all that is said in this connection seems to justify such 
a belief. But it is also clear that, in the speech which 
follows this. Onion is entirely in sympathy with Balladino's 
criticism of this type of play, only he asserts that the 
objectionable feature about them is — the kings and princes. 
In this connection, Onion obviously could not have refer- 
ence to comedies of 'humour' such as Every Man In 
or Chapman's Humorous Day's Mirth. Onion is not noted 
for being always intelligible, and the discrepancy may there- 
fore be intentional. It is more probable that this is one 
of the places that was not made to harmonize with the 
context when the satire on Munday was interpolated. 

Though the satire was, no doubt, directed chiefly against 
Munday, there is an evident thrust at those who favor his 

'"Cf. Staple of News 5. 185-6, 216; Epigram 115 (8. 218-9). 
^Cambridge Hist. Eng. Lit. 5. 358; cf. i. i. loo-i, note. 
"Aronstein, Theorie, pp. 478-9; cf. Cyn. Rev., Prol. 2. 215 (end). 
^^ Aronstein, Ben Jonson, p. 17; Small, Stage-Quarrel, p. 17; 
Koeppel, Wirknng, p. 109. 



The Satire xxxix 

productions, especially the 'common sort,' and those who, 
as Balladino says, would have him 'make such plays.' 
From the beginning to the end of his career, Jonson seems 
to have had no respect for the common people.^* In the 
Induction to Every Man Out (2. 21), Asper is made to 
say: 'If we fail, We must impute it to this only chance. 
Art hath an enemy call'd ignorance.' The Prologue to The 
Alchemist (4. 10) begins : 'Fortune, that favours fools these 
two short hours.' In The Magnetic Lady (Ind. 6. 6), his 
opinion remains unchanged, for he calls them 'the foeces, 
or grounds of your people, that sit in the oblique caves and 
wedges of your house, your sinful six-penny mechanics.' 

The question of when the satire on Anthony Munday was 
inserted in the play has recently been discussed by Mr. 
C. H. Crawford. ^^ In Bodenham's Belvedere, compiled by 
A. M., who is thought to be Anthony Munday, he points out 
four passages which are quoted from The Case is Altered. 
His contention is that Munday would not have permitted 
selections from a play that had ridiculed him to appear in 
the Belvedere. As the latter was published in 1600, Mr. 
Crawford's inference is that the satire on Munday was 
inserted after this date. 

II. Conduct of the Audience 

Jonson's reasons for criticizing the conduct of an audi- 
ence, at the early date at which The Case is Altered was 
probably written, offer some interesting speculations. Was 
he speaking from observation, or experience? As a mem- 
ber of Henslowe's company, he had many opportunities of 
observing their critical and unsympathetic attitude, and the 
present satire may possibly be the result of these. It is 
more likely, however, that a more personal reason urged 
this step, and that some play of his had received rough 

"Aronstein, Theorie, pp. 470-1; Ben Jonson, pp. 17-8; Symonds, 
Ben Jonson, p. 16. 
^^ Notes and Queries 10. 11. 41-2. 



xl Introduction 

treatment at the hands of an audience. Unfortunately very 
httle is known of Jonson's relations with the stage before the 
appearance of Every Man In, except that he was employed 
for a time by Henslowe.^^ Whatever may have been the 
nature of his work with the latter, whether he was recast- 
ing old plays, or trying his hand at new ones, we may 
assume that some of them were performed. Were they all 
well received? It will be recalled, too, that Meres^^ (1598) 
enrolls Jonson among those who were noted as writers of 
tragedy, a statement which obviously was based on plays 
that had appeared on the stage. The hostile reception of 
one of these would have been sufficient to provoke a 
criticism against the audience. 

There is another possibility, and that is that the satire 
was inserted at the same time as that on Anthony Munday.^^ 
There are certain features of the scene which would favor 
such a view. When the scene opens, there is a discussion 
on fencing, and Valentine is called upon to relate his experi- 
ences with this art in 'Utopia.' He begins, but, at the first 
mention of theatres, the character of the discourse is 
abruptly changed, and, excepting the duel, there is no return 
to the original subject of fencing. The criticism of an 
audience is out of harmony with the scene in which it 
occurs, and has no bearing on the development of the play 
as a whole. Its only connection with the latter is through 
the personages who take part. The striking feature of the 
criticism is its resemblance in tone and language to that 
which appears in the Inductions to Every Man Out and 
Cynthia's Revels. The treatment is more extensive in 
these, but the satire is intended to serve the same purpose — 
to condemn the incompetence and insincerity of the critics, 
as well as their disorderly behavior. About the year 1600, 

^'Ward 2. 302-3; Symonds, Ben Jonson, p. 15; Diary i. 24, 37, 
43, 49, 51 (ed. Greg). 

^^ Palladis Tamia, p. 161 (Ingleby, Shak. Allusion-Books). 
^*Cf. Aronstein, Ben Jonson, p. 17. 



The Satire xli 

there would be greater reasons for criticizing an audience 
than we know to have existed at the time when The Case 
is Altered was written. The Inductions to the two plays 
just mentioned are proof of this. In respect to its charac- 
ter, language, and motive, the satire in the three plays seems 
to belong to the same period. Aside from other considera- 
tions, these facts would tend to give the impression that 
the satire on the audience was not in the original version 
of our play. 

In a series of articles,^** written a few years ago (1903), 
Mr. H. C. Hart showed that most of the words misused 
by Juniper are to be found in the works of Gabriel Harvey. 
He concludes from this that, in the character of Juniper, 
Jonson intended to satirize Harvey. The articles are sug- 
gestive in that the words are used by Harvey, but, as Mr. 
Hart points out, many of them are found also in Shake- 
speare, Sidney, Lyly, Nashe, Greene, Marston, and others. 
It is more probable, then, that if Jonson intended this fea- 
ture of the play to be a satire, he directed it more against 
the prevailing use of Latinized words than against any 
particular author.-** This seems to be more likely, because 
there is nothing personal or caustic in Jonson's treatment; 
and, furthermore, he had no quarrel with Harvey. Where 
Jonson intends a satire to be personal, he is usually specific 
in his means of identification.-^ Such, it will be recalled, is 
the case in the satire on Munday in the present play, and 
that on Marston and Dekker in The Poetaster. For the 
same reason, too, it may safely be said that Tlie Case is 
Altered contains no allusions to the two last mentioned, and 
therefore has no share in the so called stage-quarrel. -- 

^'^ Notes and Queries 9. 11. 201, 281, 343, 501; 9. 12. 161, 263, 342, 
403. 
^ Cf. Baskervill, p. 94. 
"^ Cf. Brooke, p. 374. 
'' Cf. Small, p. 18. 



xlii Introduction 



E. Sources 

It is generally known that Jonson found the sources for 
the two leading plots of The Case is Altered in the Captivi 
and the Aulularia of Plautus. To what extent he imitated 
Plautus in respect to incidents and phraseology is of special 
interest, considering that he never acknowledged the play. 
As the parallel passages, which have been placed in the 
notes, clearly show the use that was made of the phrase- 
ology, no further comment is necessary. It may be added, 
however, that they include all passages that seem in any 
way to be reflected in our play, as well as the few that were 
pointed out by Whalley and Gifford. With a view to indicat- 
ing tlie use Jonson made of the incidents, a brief com- 
parison of the two plays of Plautus with ours is subjoined. 

The characters in the Captivi which are identified with 
those in The Case is Altered are : Hegio with Count 
Ferneze, Tyndarus with Camillo, Philopolemus with Paulo, 
and Philocrates wuth Chamont; in the Aulularia: Euclio 
with Jaques, Phasdria with Rachel, and Strobilus (servant 
to Lyconides) with Juniper and Onion. 

I. 3. 18-29. I" the Captivi, the war — or at least that part 
of it which concerns the characters in the play — is over 
before the play opens (Prol. 24, 59; 92-6). 

I. 5. 174-96; cf. 4. 4. 23-8; 5. 5. 1 18-21. Twenty years 
before, Tyndarus, aged four years, had been stolen by a 
slave and sold; his fate was unknown (Capt., Prol. 7-10, 
17-20; 759-61,980-1). 

1. 5. 253-61. In the Aulularia, the situation, and the 
suspicious nature of Euclio, are revealed by his attitude 
toward his servant, Staphila (40-66). 

2. I. 1-50. Euclio's wealth, inherited from his grand- 
father, is buried beneath the hearth ; the motherless girl is 
his daughter (Aul, Prol. 1-27; 67-8). 



Sources xliii 

2. I. 50-65. Euclio's commands to guard the house are 
given to Staphila {Aid. 79-104). In this passage Jonson 
follows the original quite closely. 

3. 2. 1-52; 3. 3. 1-50. Like Jaques, Euclio is suspicious 
of everybody: his servant, Staphila {Aul. 40-66) ; all who 
greet him cordially (105-19) ; Megadorus, the accepted 
suitor (178-267, 537-74) ; the servants of Megadorus, who 
are making preparations for the wedding (388-97, 415-48, 
451-9). In our play these suspicions are directed chiefly 
against the suitors. 

3. 4. 1-54. The capture of Philopolemus in the war with 
the Elians is revealed by the Prologue (Capt. 24-7), and 
repeated by the Parasite, Ergasilus (92-6). 

3. 5. 1-28. Euclio, believing his gold to be unsafe in the 
house, removes it (Aid. 449-50, 460-74, 574-8), and decides 
to hide it in the temple of Faith (580-6). Strobilus, who 
has been requested by Lyconides to spy on the wedding 
preparations (603-7), hears Euclio invoke the goddess to 
guard his gold, and, after the latter's departure, goes in to 
investigate (608-23). 

4. I. 1-78; 4. 2. 1-5 1 ; 4. 4. I -3 1. The Prologue explains 
that Hegio has purchased two Elian prisoners with a view 
to exchanging them for Philopolemus, who is a prisoner in 
Elis (Capt. 1-4, 27-34). This transaction is again men- 
tioned by the Parasite (98-101), and, in a scene dealing 
mostly with the concerns of the latter, Hegio states that 
the prisoners have arrived (110-8, 167-72). The pris- 
oners enter, and the device of exchanging names, which 
apparently had been discussed before, and which is men- 
tioned in the Prologue (35-41), is arranged on the stage 
(195-250). Arrangements are then completed by which 
Philocrates, the pseudo-slave, is to return to Elis to redeem 
Hegio's son, Philopolemus, while the supposed master is to 
remain as security (251-360). Hegio is present at the 
parting (361-460), 



xliv Introduction 

4. 7. 1-115. While Strobilus is searching for the gold 
in the temple, he is surprised by Euclio, dragged out, 
beaten, and, having been carefully examined, is released 
(Aid. 624-60). This scene was closely imitated by Jon- 
son. The situation, however, is different, as Strobilus 
understands the reason for his rough treatment. As Gif- 
ford has pointed out, there is a difference in motive, too, 
the discovery of the gold being the prime object, for it was 
expressly given by the Lar to be the wedding portion of 
Phsedria (Prol. 23-7). 

4. 7. 1 16-41. Euclio removes his gold to a grove outside 
the city, Strobilus watching him from a tree (Aiil. 661-81). 
In the whole incident of stealing the gold Strobilus acts 
alone. 

4. 7. 142-98. Strobilus tells how he secured the gold, 
after which he takes it home and hides it in a chest {Aul. 
701-12). , 

4, 8. 1-95. The exchange of names between Philocrates 
and Tyndarus is innocently revealed to Hegio by one who 
knew both intimately {Capt. 498-658). Tyndarus, having 
in vain tried to avert the disclosure, finally acknowledges 
the deception, and is put in chains, and sent to the quarries 

(659-750)- 

5. 2. 5-22. Upon discovering the loss of his gold, Euclio 
accuses Lyconides, who, having ruined the former's 
daughter, had come to make reparation by an offer of mar- 
riage {Aul. 713-807). There is no flight on the part of 
Phsedria. She does not appear in the action, her voice only 
being once heard (691-2). 

5. 3. 1-103. Strobilus, meeting his master, tells him that 
he has stolen Euclio's gold. Lyconides orders him to 
restore it. Strobilus then pretends that his confession is 
a joke. The rest of the play is missing {Aul. 808-32). 

5. 5. 1-29. There is no second appearance of Tyndarus 
before Hegio. Instead of relenting, his attitude toward all 
his prisoners becomes more harsh {Capt. 751-7). 



Sources xlv 

5. 5. 85-150. The return of Philocrates with Philo- 
polemus and Stalagmus is announced to Hegio by tlie 
Parasite (Capt. 790-900). This is the only appearance of 
Philopolemus. He is restored to his father, and through 
the confession of Stalagmus, the slave who had stolen the 
other son, Hegio learns that Tyndarus is that son (Capt. 
922-1028). 

The above analysis shows that the outline of the story 
found in the two dramas of Plautus is, in the main, fol- 
lowed in The Case is Altered. As in the Captivl, a son is 
lost in childhood ; twenty years later, a second son becomes 
a prisoner of war ; unrecognized, the lost son is brought 
as a prisoner to the house of his father, with a young 
nobleman to whom he acts as servant-companion ; the two 
exchange names, and the nobleman, disguised as the ser- 
vant, departs to redeem the second son ; the discovery of 
the deception leads to the imprisonment of the servant, who 
has remained as security ; the nobleman returns with the 
second son, and the imprisoned servant is found to be the 
lost son. Again, as in the Aulularia, there is a miser with 
a hidden treasure, and a motherless girl who is sought in 
marriage ; the constant fear that all who seek him know 
of the gold, and are plotting to steal it; the removal of 
the gold to a supposedly safer place, which, in reality, is 
the means of its loss ; the seizure of a suspected thief ; the 
hiding-place of the gold discovered from a tree; the grief 
of the miser at its loss ; and its final recovery. 

Though Jonson retains the thread of the story, it is evi- 
dent that in his treatment, he has worked according to his 
expressed views of what translation and imitation should 
be — 'to convert the substance or riches of another poet 
to his own use.'^ On referring to the parallel passages, it 
will be seen that, except for a few instances, he rarely 
translates, to any extent, the words of the original. The 
analysis has shown that most of the episodes of the original 

'^Discoveries 9. 216. 



xlvi Introduction 

have been altered. These alterations appear in the previous 
history of an episode; the identity of a character; parts 
shared by several, or the reverse; the compression, expan- 
sion, or omission of incidents ; the method of announcing 
events ; the motivation ; and especially in the particulars 
or details relating to an episode. Furthermore, he has 
skilfully interwoven the two plots, and with them the 
Juniper episode, as well as the sub-plots treating of Paulo 
and Rachel, of the courtship of Rachel by Christopher, 
Count Ferneze, and Onion, and of Chamont and Aurelia. 
With the exception of Jaques, and of a few traits notice- 
able in Count Ferneze, Jonson's debt to Plautus, in respect 
to the personality of the characters, is very small. This 
phase of his treatment will be discussed more fully in the 
Evaluation. 

Others besides Jonson constructed plays, using the Aulu- 
laria- as a basis. Among these, the following may be 
mentioned: Giovanni Battista Gelli, La Sparta, Florence, 
1543; Lorenzo Guazzesi, L' Auliilaria, reprinted at Pisa, 
1763; MoHere, L'Avare, 1667. Shadwell (1671) and 
Fielding (1733) each produced a play called The Miser, 
based on L'Avare.'^ Several plays imitate only parts. In 
The Devil is an Ass (5. 47), Jonson returns to the passage 
already used in our play (2. i. 50-65). Johnson {Yale 
Studies 29. 162) points out that the same passage was 
imitated by Wilson in his Projectors, Act 2, scene i. In 
Alhumazar (Act 3, scene 8), usually attributed to Thomas 
Tomkis, a part of the scene found in the present play (4. 
7. 73-83) occurs. 

As to plays based on the Captivi,'^ the same motive,^ with 
variations, was employed in The Bugbears, Misogonus, and 
The Weakest Goeth to the Wall. See also Jean Rotrou, Les 
Captifs (1638) ; Reinhold Lenz, Die Aussteuer (1774). 

" Cf. Reinhardstoettner, Plautus, pp. 255-324. 
^Ward 3. 457 (note 2). 
* Cf . Reinhardstoettner, Plautus, pp. 324-55. 
° Brooke, p. 403. 



Evaluation xlvii 

F. Evaluation of THE CASE IS ALTERED 

Jonson's theory of dramatic composition, reading, in 
places, like a page from Aristotle's Poetics, is partly set 
forth in his Discoveries (9. 221-8). From this it might 
have been expected that in his dramas he would follow the 
latter more closely. That he did not always do so demon- 
strates that his interpretation of Aristotle was broad enough 
not to hamper his work. On this point^ he says {ib. 9. 
219) : 'I am not of that opinion to conclude a poet's liberty 
within the narrow limits of laws, which either the gram- 
marians or philosophers prescribe'; and (p. 204): 'Let 
Aristotle and others have their dues; but if we can make 
farther discoveries of truth and fitness than they, why are 
we envied?' Jonson's work is fairly consistent with this 
stand, and, in making a critical study of any of his dramas, 
it will be profitable to bear in mind, first, his sympathetic 
attitude toward the theories of Aristotle, and, secondly, his 
avowed determination to make his own laws when he 
believed it necessary. 

Jonson, as we know, invented most of his plots. ^ When 
incidents were borrowed, they usually comprised only a 
small part of the play, and were transformed to suit the 
situation. This was the case with portions of such plays as 
Cynthia's Revels, Poetaster, Epiccene, The Staple of News, 
and The New Inn. In the present play, however, the out- 
line of the plot was determined by the sources derived from 
Plautus, a condition which is somewhat analogous to that 
in his Sejanus and Catiline. Whatever variations we find 
are in certain details, and in the introduction of sub-inter- 
ests. The Captivi is, in the main, serious in purpose, with 
a semi-historical flavor. The Aulularia, on the other hand, 
is comic. A combination of these two, with more details 
in the historical part, would have given us a type of play 

' Cf. E. M. O. 2. 21-3. 

^ Cf . Schelling i. 536 fif. ; Symonds, Ben Jonson, pp. 55 ff. 



xlviii Introduction 

of which Henry IV is an example. The elements that 
determine its character as a romantic comedy were sup- 
plied by enlarging upon the undeveloped part assigned to 
Phsedria in the original, and by introducing the minor 
love-episode of Chamont and Aurelia. 

The play may be said to have three sets of interests. 
The first set, which concerns Count Ferneze, Camillo, 
Paulo, and Chamont, and which is based on the Captizn, 
may be regarded as the main plot. Subsidiary to this are 
the incidents relating to Paulo and Rachel, and Angelo's 
perfidy; the infatuation of Count Ferneze, Christophero, 
and Onion, for Rachel ; and the interest dealing with 
Chamont and Aurelia. The second set, which concerns 
Jaques and his money, and which is derived from the 
Aulularia, is almost as prominent as the other. It is 
joined to this, partly by the incidents that relate to Rachel, 
and partly by what we may call a third set, that which 
concerns Juniper and Onion. Though both appear in the 
first two sets. Onion is more prominent in the first, and 
Juniper in the second. Loosely tied to these are the Bal- 
ladino incident; the appearances of Aurelia and Phoenix- 
ella; the censure on the audiences of the theatre, with the 
subsequent fencing-bout; and the exhibition given by 
Pacue and Finio. 

It is probable that the number of plots and incidents, and 
the incomplete development of some of these, as well as of 
some of the characters, were due to a request on the part 
of Henslowe for a play upon short notice. We know that 
Jonson was connected with Henslowe's company^ about this 
time (1597-8), and that he was engaged in writing plays, 
and doing such hackwork* as was customary with young 
writers. He had perhaps laid aside the plots of the Cap- 
tivi and the Aulularia, to be used in future plays ; but, when 

^ Diary i. 24, Z7, 43. 49, 5i (ed. Greg). 

*Aronstein, Engl. Studien 34. 195; Swinburne, p. 11; Symonds, 
Ben Jonson, pp. 8, 15. 



Evaluation xlix 

the sudden demand came, he was forced to use both plots, 
and interwove with them the Juniper-Onion episode and 
other incidents. 

In a play containing such a variety of plots, it is not 
surprising that Jonson found some difficulty in adhering to 
the so called dramatic unities. He was usually rather care- 
ful in regard to the unity of time,^ believing it necessary 
that the action 'exceed not the compass of one day' (Dis- 
coveries 9. 226). But, in The Case is Altered, the time of 
the action is approximately one year. Near the beginning of 
the play. Count Ferneze states that he has lost a son nine- 
teen years before (i. 5. 178), which at the end he says was 
nearly twenty years (5. 5. 118). Judging by the age of 
Camillo, given on each occasion, the time would be between 
one and two years. Plautus was not so specific in this 
detail as Jonson. The action of the Captivi is apparently 
supposed to occupy one day. But this is a physical impos- 
sibility, considering that, in his journey to redeem Philo- 
polemus, Philocrates had to travel from Calydon, ^tolia, 
to Elis, and return. In our play a similar situation presents 
itself; Chamont must have time to return to France to 
redeem Pavilo. But before this, Maximilian and Paulo 
needed time in which to go to France, take part in the war, 
and return. To have adopted the expedient, used by 
Plautus, of having the war take place before the opening of 
the play, would have reduced the time by one half, but it 
would have eliminated one of the charming features of the 
play, the constancy of Rachel. In reality, however, the 
lapse of so long a time as a year is not noticeable. This 
is largely due to the presence of the Jaques plot, which, at 
the most, would seem to occupy about two days. A brief 
summary of the time-scheme will make this clear. The 
events of the first three scenes in Act i, equal in time the 
length of the meal which is mentioned at the beginning and 

^Cf. Woodbridge, pp. 16 fif. ; Buland, pp. 44 ff.; Lounsbury, 
pp. 25 ff. 



1 Introduction 

end of this period. Scenes 4 and 5 immediately follow, and 
the whole act, in real life, should not occupy more than 
three hours. Jaques enters for a moment at the end of the 
act. The opening words of his soliloquy, in Act 2, make 
it clear that he is still excited over his former entrance, 
which is ample proof that no great length of time separates 
the two acts. The first two scenes of Act 2 give no indica- 
tion of an unusual lapse of time. Scenes 3, 4, 5, and 6 are 
continuous, and scene 7 does not alter the time-scheme. In 
real life, this act should not occupy much over an hour. 
That Act 3, in point of time, directly follows Act 2, is 
evident from the interviews which Christophero and Count 
Ferneze have with Jaques, an undertaking which each had 
decided should be attended to without delay. The action 
up to these interviews has been fairly continuous. There 
has been no special evidence of an extended period of 
time either between acts or scenes, and, in actual experience, 
the action would have occupied between four and five hours. 
But at this point (Act 3, scene 4) a messenger enters 
to inform Count Ferneze that the war is over, and that 
Maximilian had returned with prisoners. Act 4 opens 
with the entrance of Maximilian, whose arrival had been 
foretold, thus apparently preserving the continuity in time 
between the two acts. Scenes i, 2, and 4 closely follow one 
another. The same may be said of scenes 3, 5, 6, and 7. 
There is no gap between the two groups, and there is no 
indication that any lengthy period of time had passed before 
the Count discovered the exchange of names. In actual 
experience, tlie time consumed by Act 4 would be some- 
what over an hour. Acts 4 and 5 are apparently con- 
tinuous. In 5. I. 74, Angelo tells Rachel that he had 
heard from Paulo 'by post at midnight last.' But in scene 
2, Jaques discovers the loss of his gold, and, judging by the 
frequency with which he has previously gone to see if it 
was safe, not much time has elapsed since it was stolen. 
By the appearance of Juniper and Onion in new apparel, 



Evaluation li 

and presumably, with a coat-of-arms, and the speeches of 
Angelo (scene 4) and the Count (scene 5), it is assumed 
that some time has passed, but Christophero's lament for 
Rachel, and Jaques' for his gold, seem closely connected 
with scene i. The actual time consumed by Act 5, from 
the standpoint of the Jaques plot, would be about four or 
five hours. From the above summary, it will be seen tliat 
The Case is Altered contains what is known as a 'double- 
time' scheme,® a condition sometimes met with in Shake- 
speare's plays. One plot assumes the lapse of a long period 
of time, while another plot, whose action is co-existent with 
the first, seems to consume only a fraction of the time. 
This is the case in the two parts of Henry IV, where the 
comic and historical plots are developed simultaneously, the 
former occupying approximately from ten to twelve days, 
and the latter, two or three months.'^ 

Though Jonson does not emphasize the unity of place, he 
does not shift the scene from one country to another, or 
from city to city, as Shakespeare does, say, in Macbeth. 
In this respect, the method employed here is similar to that 
found in his other plays. The action is laid in Milan, and 
alternates between the houses of Count Ferneze and Jaques. 

The unity of action deserves more attention. His 
expressed views on this, if applied to all his dramas, would 
constitute a rather severe test. In one place, he says 
{Discoveries 9. 224) : 'The fable is called the imitation of 
one entire and perfect action, whose parts are so joined 
and knit together, as nothing in the structure can be 
changed, or taken away, without impairing or troubling the 
whole, of which there is a proportionable magnitude in the 
members.' But he insists also 'that there be place left for 
digression and art. For episodes and digressions in fable 
are the same that household stuff and other furniture are 

*Cf. Buland, pp. 1-20. 

' Cf. Daniel, Trans. New Shak. Soc, i2>77-i^yg, pp. 279, 288-9. 



lii Introduction 

in a house' {ib. g. 226). The latter may explain, to some 
extent, the freedom with which he sometimes treats the 
unity of action. A more direct reason may lie in his 
method of constructing plots. 'He starts with a group of 
characters whose comic aspects he wishes to bring out. 
To this end he invents situations for them, and by com- 
bining these situations, he gets a plot for the comedy.'^ 
That this was not his method in The Case is Altered has 
already been shown.^ It is clear also that, with a second 
plot as important as the Jaques plot, the play does not pos- 
sess the unity of action that we find in the Alchemist, 
Volpone, or Epiccene. Whatever may have been Jonson's 
reasons for incorporating this episode, whether it was to 
supplement the Captivi plot, in which he was less interested, 
or whether it was because of a lack of time properly to 
develop one or the other, we may be reasonably certain it 
was not done for purposes of 'digression and art' ; for, if 
we understand his meaning, such additions were to be 
ornamental, and could be inserted or removed without 
affecting the unity of the whole. Among digressions of 
this character, we may include the fencing-bout between 
Onion and Martino (Act 2, scene 7), and the droll game 
of salutations indulged in by Pacue and Finio (Act 4, scene 
3). As was the case with the unity of time, the nature of 
the sources seems to have interfered with the possibility 
of a careful observance of the imity of action. If we 
regard a strict adherence to these unities as immaterial, it 
may be said that the Jaques plot does much for the play; 
in fact, its removal would destroy the play. It helps the 
time-element, by diverting the attention from the assumed 
lapse of time, and it gives an interest to the action which is 
not offered by the main plot. 

^Woodbridge, p. 41; cf. Symonds, Ben Jonson, pp. 51-5; Schell- 
ing I. 535-6. 
• Cf . Sources ; also, p. xlvii flf. 



Evaluation liii 

It may be queried, then, whether our play has the organic 
unity which is usually seen in the plays of Jonson. An 
analysis of its structure will show this to be the case. It 
contains the usual introduction, a rising action, a double 
climax, a falling action, and a solution or catastrophe. In 
Act I, scenes 3, 4, and 5, the situation is explained: prepara- 
tions are being made for a war with France ; Paulo's love 
for Rachel is revealed to Angelo; and Count Ferneze 
announces the loss of Camillo. Paulo's departure for 
France marks the beginning of the rising action. In Act 
2, the second plot is introduced. The soliloquy of Jaques, 
in scene i, explains the situation. In scenes 2 and 6, the 
plans of the three suitors regarding Rachel begin its rising 
action. Scenes 4 and 5 are explanatory, giving an insight 
into Angelo's character. In Act 3, scenes i, 2, and 3, the 
rising action is continued : Angelo decides to woo Rachel ; 
and Christophero and Count Ferneze interview Jaques 
about Rachel. The entrance of the messenger in scene 4 
marks the turning-point of the first plot. In scene 5, the 
removal of the gold to the yard continues the rising action 
of the second plot, and paves the way for its turning-point 
in the next act. Act 4 marks the return or falling action 
of the first plot. Scenes i and 2 deal with the return of 
Maximilian with prisoners, and the departure of Chamont 
to ransom Paulo — circumstances which eventually lead to 
the solution. Phoenixella's remark about Camillo points the 
same way. In scene 7, the surprisal of Juniper and Onion 
by Jaques marks the turning-point or climax of the second 
plot. The Count's discovery of the exchange of names, in 
scene 8, continues the falling action. The ruse of Angelo 
and Christophero, in Act 5, scene i, precipitates Jaques' 
discovery of his loss, and serves as a secondary climax to 
the second plot. The appearance of Juniper and Onion, in 
scene 3, richly appareled, continues the falling action, since 
it leads to the discovery of the culprits. Scene 4, the meet- 



liv Introduction 

ing of Angelo and Rachel with Paulo and Chamont, fore- 
casts the solution. The threatened execution of Camillo, 
and the semi-comic lamentations of the three victims, in the 
first part of scene 5, serve to retard the catastrophe, which 
seemed to have been approaching too rapidly. The return 
of Chamont finds all the interests united, and brings about 
the solution. 

With the exception of Jaques and Count Ferneze, the 
characters in our play have no resemblance to their originals 
in Plautus. Jaques and Euclio are so much alike that tlie 
former has been called^" a mere copy. Being misers, they 
have the traits common to that class. They live and dress 
poorly, and lay great stress on their poverty. The suitors 
are repeatedly reminded that there is no dowry. The 
natures of both misers are so suspicious that all who 
approach them are regarded with distrust. Oblivious of 
everything but their gold, they treat their inferiors with 
cruelty, and their friends are made to wonder at their 
strange actions. If they have a sense of humor, their 
obsession prevents their displaying it. Except for Jaques' 
soliloquy in Act 2, scene i, neither shows any affection for 
his daughter. In the case of Jaques, this may be explained 
by the fact that Rachel is not his daughter. He is, perhaps, 
a little more self-contained than Euclio. His language is 
more moderate, and he does not rave in such a melodra- 
matic way as the latter, when the loss of the gold is dis- 
covered. From a dramatic standpoint, Jaques is the most 
imposing figure in the play. There is usually action where 
he appears, and if he soliloquizes, his words demand atten- 
tion. When he talks with the Count, his deference, humil- 
ity, and plea of poverty soften even the Count. When he 
grasps Juniper by the hair, and alternately rages at the peril 
of his gold, or is bewildered at the strangeness of Juniper's 
words, he is the same Jaques who, at the sound of any 

"Ward 2. 351; cf. Castelain, pp. 200-4. 



Evaluation Iv 

human voice, runs into the house to look at his gold, 
frantically calling on Rachel and Garlick to aid him. 

Count Ferneze has a few traits in common with Hegio. 
Under normal conditions, they are kind-hearted and con- 
siderate. But anxiety for the safety of a captured son has 
brought their minds to such a tension that when they are 
tricked by their captives, they suddenly become cruel. The 
thought tliat they have been imposed upon adds to their 
bitterness. Hegio's cruelty increases, whereas the Cotmt's 
spends itself before the son's return. Hegio finds no enjoy- 
ment in anything but the release of his son. All his 
thoughts are directed to this one end. The Count, how- 
ever, jokes with Angelo, and chides his daughters for their 
interest in the latter. He is a man of moods and of 
impulse, easily irritated when crossed ; but, like men of this 
type, the mood does not continue long. His interest in 
Rachel is due to an impulse, inspired, no doubt, by the 
very human consideration that Christophero was bent on 
the same. When he shows exasperation at his awkward 
servants, whom his own impatience has confused, he 
becomes almost frantic ; but when Juniper enters, a moment 
later, to intercede for Onion, his equanimity has been 
restored. His resolve to execute Camillo for deceiving him 
lasts longer, for it touches him more deeply. In spite of 
his cruelty to the latter, he seems to have been devoted to 
his countess, and to have had much affection for Paulo and 
the lost Camillo. His character appears to undergo a 
change after his inability to execute the latter. It does not 
seem like him to join with Christophero and Jaques in their 
laments. After the return of Chamont, however, his 
former character is reassumed. 

The character of Juniper was original with Jonson. If 
he resembles Strobilus at all, it is in having no scruples in 
taking Jaques' money. But of the traits of Juniper's charac- 
ter which are most prominent, and which attract us to him. 



Ivi Introduction 

there is no indication in Strobilus. The most noticeable of 
these is, of course, his predilection for, and his misuse of, 
high-sounding words. He has acquired them somewhere, 
and uses them freely, and with no further care than that 
they shall be long, and resemble in sound the correct word. 
Plautus has a suggestion of the use of long words for the 
purposes of humor, where Philocrates calls his father 
'Thensaurochrysonicochrysides'^^ (Capt. 285). However, 
there is this difference : the word is coined, and per- 
tains somewhat to the situation. The pretense to learning 
thus exhibited is maintained on all occasions with great 
assurance, accentuated here and there with puns, proverbs, 
and quotations from foreign languages and other sources. 
With a stock of this material at his disposal, audacious and 
irrepressible, care-free and good-natured. Juniper must 
have met with much favor on the stage. This was cer- 
tainly not lessened when his assurance meets a check at the 
hands of Jaques, or when he skilfully evades a challenge 
in an argument witli Valentine. Reminiscences of Juniper 
are seen in Simon Eyre^- and Dogberry.^" 

In the incident with Jaques, Juniper and Onion share the 
part taken in Plautus by Strobilus, who is seized by Euclio, 
and later climbs a tree. Onion is the complete antithesis 
of Juniper. Where the latter is self-reliant and resource- 
ful, the former has to depend on others. Until Jaques' 
gold is secured, his chief aim is to win the favor of Rachel, 
and to this end he implores the advice and help of his 
friends. Juniper is requested to ask Balladino for an 
appropriate verse ; Christophero is asked to interview 
Rachel in his behalf ; Valentine has evidently been ap- 
proached, since Onion is searching for him when he meets 
Juniper, to whom he unbosoms himself, and begs his pres- 

" Cf. Plautus, Miles Gloriosus 13-4. 

^^ Dekker, Shoemaker's Holiday; cf. Stoll, Modem Lang. Notes, 
Jan., 1906, p. 20. 

^^ Much Ado About Nothing; cf. Castelain, p. 206; Aronstein, 
Ben Jonson, p. 20; Symonds, Ben Jonson, p. 16. 



Evaluation Ivii 

ence at an interview with Rachel. Onion is not lacking 
in self-importance and boldness — insolence would perhaps 
better express it. He has neither the merry and buoyant 
spirits of Juniper, nor the mental alertness. In fact, as the 
latter characterizes him, he is somewhat of a 'dunce.' 
Though his language is not so pretentious as Juniper's, he 
is never at a loss in an argument. He has a like habit of 
quoting proverbs and popular phrases. In this he may be 
imitating Juniper, in whom he had great confidence. Onion 
may not have been as acceptable to an audience as Juniper, 
but he remains true to his character. When he is led away 
to be punished, he begins to beg for mercy. 

Of the three girls in the play, the sisters, Aurelia and 
Phcenixella, are of minor importance. From their appear- 
ances, we infer that they are of opposite types. Ward^* 
characterizes them as 'the sister qui pleure and the sister 
qui rit.' After their mother's death, Aurelia, the taller and 
older, bears her mourning lightly, and sees no reason for 
restricting her pleasures ; Phcenixella is more serious, has 
more regard for propriety, and derives her happiness from 
'contemplation.' In another play, and under different con- 
ditions, much more could have been made of them. Rachel, 
however, has a more prominent part. Gifford^^ says of 
her : 'The character of Rachel is exquisitely drawn : she 
is gentle and modest, yet steady, faithful and affectionate.' 
Castelain^® regards her as the only real young girl in all 
of Jonson's plays, and regrets that more was not made of 
the possibilities her part offers. There was very little in 
Plautus to suggest the character of Rachel, unless it was 
the piety which Phaedria^^ exhibited, and which won the 
favor of the household god. Outside of this — for piety 
may be accorded to Rachel — there is nothing in common 
between the two girls. The situation, too, is quite different. 

^* History 2. 351-2; cf. Castelain, p. 197. 
^° Works 6. 385. 

^^ Ben Jonson, pp. 197-9; cf. Schelling i. 380. 
'' Aul. 23-8. 



Iviii Introduction 

More light is shed on the character of Jaques, when the 
character of Rachel is considered. With no servant or 
companion of the opposite sex to take charge of her, Jaques, 
in spite of his avarice and the fact that she is not his 
daughter, has reared a girl whom all admire. But we must 
not forget tliat, when it is necessary to decide between her 
and his gold, he grieves more for the loss of the gold. 
Whatever Rachel may have felt about this early period, she 
is always respectful toward her supposed father. As to 
her attitude toward her admirers, she is, perhaps, uncon- 
scious of all but Paulo. There is no record whether the 
Count, Christophero, and Onion ever succeeded in inter- 
viewing her, or whether Jaques mentioned their overtures. 
Her confidence in Angelo, the friend of Paulo, prevents her 
from perceiving his intentions. Aurelia seems at first to 
have shown some preference for Maximilian, and to have 
touched the susceptible Angelo, but Rachel has no thought 
of admiration. Angelo's treachery is, perhaps, a revelation 
to her. Worthy of confidence herself, she believes all are 
to be trusted. It is in keeping with her character that she 
intercedes for Angelo, when Paulo would have rejected 
him. It would seem as if more could have been made of 
her in the recognition-scene.^^ But Jonson had many loose 
ends to tie, and the action was converging to the point where 
it was necessary to omit details, and to deal only with 
essentials. 

Paulo', Camillo, and Chamont owe nothing to Plautus, 
except the parts they take in the action. Philopolemus, 
who is identified with Paulo, is scarcely more than a name, 
appearing only in the closing scene. Megadorus and 
Lyconides, the suitors of Phsedria, are identified with no 
one in our play. The part of the successful suitor, borne 
by Lyconides, is transferred to Paulo. The character of 
the latter is somewhat colorless, due, no doubt, to his few 

" Cf. Castelain, pp. 199-200. 



Evaluation lix 

appearances. In the earlier of these he gives promise of 
being worthy of such a character as Rachel's, but in his 
last appearance, when he arraigns Angelo for his treachery, 
this is not realized. His judgment is at fault in trusting 
Angelo, whose vacillating character seems to have been clear 
to everybody. His senseless ranting at his friend's perfidy 
demonstrates a lack of poise. Camillo's character is appar- 
ently more admirable than his brother's, though at times 
he resorts to the same extravagant language. His loyalty 
to, and his faith in, Chamont, in face of a threatened execu- 
tion, are not mentioned. Even the manner in which he 
received the disclosure of his birth is passed over. Here 
again were dramatic possibilities which were not utilized.^^ 
The little we see of Chamont produces a favorable impres- 
sion. Christophero's character is shown in his blustering 
rule over his fellow-servants, his infatuation, and in the 
ease with which Angelo dupes him by depriving him of 
both his sweetheart and his money. Balladino-" and Maxi- 
milian^^ have been discussed elsewhere. Colonnia appears 
at various times, but has no vital relation to the action. 
Angelo, the false friend, is perhaps more clearly and con- 
sistently drawn than any of the minor personages. A hint 
that he is not to be trusted is given by Paulo before his 
entrance. Count Ferneze reveals another trait by saying: 
'He will swear love to every one he sees.' Angelo's remark, 
when Aurelia praises Maximilian, shows he likes attention, 
and resents being displaced. Rachel's beauty, not her 
character, evidently attracts him. His soliloquy, however, 
at the beginning of Act 3, summarizes his character. 
Valentine has two points of interest: he represents the 
traveler, a type that is often referred to by Jonson; and, 
in a small way, his part is analogous to that of Asper,^^ 

" Cf . Castelain, pp. 199-200. 
^ See p. XXXV ff. 
'"■ See p. xxii. 
'" E. M. O. 



Ix Introduction 

Crites,^^ and Horace-* — that is, he is, for the time, Jonson's 
mouthpiece. This is said, of course, in reference to the 
criticism of an audience found in Act 2, scene 7. In other 
respects, his character may be said to be negative. 

The sources of comic effect are next to be considered. 
Jonson, with Aristotle in mind, says^^: 'The moving of 
laughter is not always the end of comedy,' especially, not 
the kind that 'either in the words or sense of an author 
or in the language or actions of men is awry or depraved.' 
Referring to ancient comedy, he includes in this 'all inso- 
lent and obscene speeches, jests upon the best men, injuries 
to particular persons, perverse and sinister sayings,' and 
particularly where the Old Comedy 'did imitate any dis- 
honesty, and scurrility came forth in the place of wit.' 
This view is emphasized in his dedication to Volpone. In 
this respect, the tone of The Case is Altered is especially 
high. The humor is always clean and wholesome. The 
comic element is confined almost entirely to the miser-plot, 
and is furnished chiefly by Jaques, Juniper, and Onion. 
Its sources are three — eccentricities of character, situations, 
and unusual words and expressions. The three characters 
mentioned above have peculiarities which would render 
them humorous in any situation. A miser is admittedly 
eccentric. Unrest and suspicion accompany this type of 
character, and serve to intensify his actions. With a hoard 
of money to guard, and given a marriageable daughter, a 
miser is in a more difficult position, and his eccentricities 
are sure to be magnified. Juniper's self-assurance and 
elaborate vocabulary, and Onion's cowardice and stupidity, 
constitute eccentricities which are fit subjects for comic 
treatment. Count Femeze, though not primarily a comic 
character, has a tendency to be so at times, because of his 
irascible temper. The best example of this is of course in 

"-^C. R. 
"■* Poet. 
'^'Discoveries g. 222. 



Evaluation Ixi 

Act I, scene 5, where the humor of the situation Ues in the 
mental paralysis which has seized every one, because of the 
Count's impatience and irritability. Of the dozen or so 
comic situations, where the humor rises primarily from the 
situation, that in Act 4, scene 7, is decidedly the best. 
Something of the kind is to be expected when the three 
chief comic agents are brought together for the first and 
only time. It is fitting, also, that the two most eccentric 
characters shall grapple, and that Onion shall play the fool 
from a safe position. Act 5, scene 3, seems to introduce 
drunkenness as a source of comic effect, something rare 
with Jonson. Of the drinking-scene in Bartholomew Fair 
(4. 455), Gifford says: 'His object undoubtedly was to 
inculcate a contempt and hatred of this vile species of 
tavern pleasantry.' Reference is made to a case of drunk- 
enness in Every Man In (1. 144), but there is no presenta- 
tion of it on the stage. In our play, the emphasis seems 
to be laid, not so much upon their condition, as upon other 
features, such as the incongruity in their apparel, and the 
employment of a page. The third source, words and 
phrases, includes words misused, puns, proverbs, scraps 
from foreign languages, apparent quotations from contem- 
porary plays, and expressions from other sources which had 
become popular. Some of the humor in these lies in the 
comparison they invite, of the situation in which they are 
found with the present. The introduction of Pacue, speak- 
ing a foreign language, is another comic element. This 
device was quite popular,-'' but there is very little of it to 
be found in Jonson.^'^ 

The aim of the play is not satirical, though it has parts 
that are intended as a satire. The allusion to Anthony 

^ Cf. Dekker, Shoemaker's Holiday, Wonder of a Kingdom, and 
his masque with Ford, The Sun's Darling; Lodge, Wounds of Civil 
War; Middleton, Anything for a Quiet Life; Jack Drum's Enter- 
tainment; L. L. Lost (Act 5, scene 1). 

" Alch. 4. 125-34; D. A. 5. I4S-6; Tub 6. 128 fif. (dialect). 



Ixii Introduction 

Munday will be recalled. Here, too, an opportunity seems 
to be taken to show disapproval of the insipid material used 
for plays, and of the poor taste of those who favored them. 
Another instance is the arraignment of the audiences in a 
theatre. Both of these have been discussed under Satire. 
As a comedy, what can be said, then, of The Case is 
Altered, and how does it compare with the other plays of 
Jonson? The fact that the title-page states it had been 
'sundry times' acted would suggest that it had been received 
with some favor. The reference to it by Nashe^® seems to 
indicate that the play was well known, and quotations 
from it made in Bodenham's Belvedere^^ confirm this view. 
Meagre as it is, such external evidence as we have attests 
its popularity. On the other hand, a perusal of it, or a 
more detailed study, will demonstrate that it was wortliy 
of recognition. The above analysis has shown some of its 
strong points, as well as the weak ones. The selection of 
two diverse plays from Plautus, with the outline of each 
practically retained, offered many problems for the har- 
monious development of a new play. By this the scope of 
the new play, if not its character, was largely predetermined, 
and the freedom with which Jonson usually worked in 
devising his plots was somewhat circumscribed. Yet it will 
be admitted that the task was managed with great skill. 
Though his theory of dramatic unity suffered somewhat, 
there is, nevertheless, an inner or organic relation main- 
tained ; and his treatment of the unity of time was cleverly 
effected. The borrowed characters were, for the most 
part, transformed, showing very few traits of the originals. 
Some of the more prominent of these were not so fully 
drawn as their parts seem to warrant. No doubt he was 
more interested in the comic characters and the situations 
that concerned them — a view which is substantiated by his 
later success in this field. The words and phrases that 
are used as comic devices, and which so often recur, tend 

^Lenten Stuff e (Wks. 3. 220). 
^Cf. Index. 



Evaluation Ixiii 

to make some parts of the play a little tedious. But, as a 
rule, the pleasantries are wholesome, and there are no 
portions which we should prefer to excise. 

The statement^^ that Jonson was not interested in treat- 
ing love-episodes is doubtless true. In our play, however, 
he has shown that he could treat this topic with a fair 
measure of success, if the occasion required. The modesty, 
constancy, and refinement of Rachel are drawn with a nice- 
ness of touch that is not found in Awdrey in A Tale of a 
Tub; and, for dramatic interest, her part is superior to that 
of Lady Frampul in The New Inn, and Julia in The 
Poetaster. On the other hand, neither is the structure of 
our play as perfect, nor its interest as intense, as that of 
The Alchemist, Volpone, or Epiccene. A wider range of 
episodes, too, is offered in Every Man In, Every Man Out, 
and Bartholomew Fair. Its humor, though not so broad or 
so varied as in the last mentioned, is nevertheless, good- 
natured, and, in this respect, and in its freedom from boister- 
ous features, it is noticeably superior to many of the others. 
The personal satire is not elaborate, as in Cynthia's Revels, 
nor bitter, as in The Poetaster. In fact, considering that 
the Balladino-incident is evidently a later insertion, the 
original play may be said to have been free from personali- 
ties. His descriptions of characters are often long and 
tedious, and, while the action waits, the interest necessarily 
flags. In this respect our play is more fortunate than some, 
containing only a few, and these short and concise, as con- 
trasted with the many found in such plays as Every Man 
Out and Cynthia's Revels. It surpasses the latter in not 
being so unwieldy, and it is more spontaneous, and has more 
freshness and elegance, than the plays written after Bar- 
tholomew Fair. Finally, its clearness is not obscured by 
allegory, as is the case with Cynthia's Revels and The 
Poetaster. 

^"Castelain, p. 199; Symonds, Ben Jonson, pp. 53-4; cf. citation 
from Dryden, supra, p. xv; Lounsbury, p. 119. 



Ixiv Introduction 

As a romantic comedy, it is more like Shakespeare's early 
plays than Jonson's. Though it is not to be ranked so high 
as the Two Gentlemen of Verona, the two plays have much 
in common.^^ The kind of humor practised by Juniper and 
Onion finds its counterpart in that of Speed and Launce; 
the friendship of Paulo and Angelo, the duplicity of the 
latter, and their reconciliation, are reminiscent of Valentine 
and Proteus; and, for her constant and loving character, 
Rachel deserves to be compared with Julia. 

It is a source of common regret"- that Jonson did not 
produce more of this type of drama, when he seems to have 
made such a promising start. His originality^ and inde- 
pendence, however, as well as his inaptitude, would seem to 
explain the coiirse he finally pursued. Because of his 
decided views on the life of the day, and the attitude he 
assumed toward the drama, he would naturally not adopt 
a type of composition which would be contrary to the task 
he had set for himself, and which would necessarily limit 
his powers. 

The ease with which The Case is Altered lends itself to 
presentation on the stage was recently shown when it was 
performed by the students of the University of Chicago. 
In a letter dated April 3, 191 5, Professor Richard G. Moul- 
ton, who was asked to give his impression of the play 
judging from these performances, has kindly submitted the 
following comments : 'The presentation of The Case is 
Altered in 1902 was a conspicuous success, with large and 
appreciative audiences. I attribute the success very largely 
to the fact that the antiquities of the Elizabethan stage were 
maintained, and, as a part of this, that an Elizabethan 
audience was part of the presentation. There was a stage 
for the play, and a fore-stage for the Elizabethan audi- 
ence — some 200 of them, in appropriate costume, and with 

"Aronstein, Ben Jonson, pp. 19-20; Woodbridge, pp. 75-7. 
'^Swinburne, p. 11; Symonds, Ben Jonson, p. 16; cf. Aronstein, 
Ben Jonson, pp. 21-2. 



Evaluation Ixv 

considerable "business," such as would represent the free 
behavior of a theatrical audience in those days. Queen 
Elizabeth, I remember, had a private box. I am afraid 
that, at this distance of time, I cannot say anything useful 
about the details of the play, beyond that I was favorably 
impressed with its acting qualities. But there is no doubt 
that the combination of play and scenic audience was most 
entertaining ; my impression at the time was that it was one 
of the most successful stage-spectacles that I had seen.' In 
the same connection. Professor Albert H. Tolman writes 
(June 13, 191 5) : 'The impression of the play that has 
staid in my mind may be briefly stated thus : The play 
proved to be full of effective situations that came out with 
great force in the acting. This was especially true of the 
role of Jaques de Prie, the miser. The exchange of names 
between the two friends, Camillo and Lord Chamont, and 
the explanation of this later in the play, were so huddled up 
that they made little impression.' Professor David A. 
Robertson, who took the part of Jaques in this performance, 
writes (April 22, 1915) : 'Professor Manly has turned over 
to me your letter with respect to "The Case is Altered." 
. . . Speaking as a participant, I may say that the play 
lent itself easily to presentation.' 

The interest and enthusiasm with which a revived play 
of this character is received cannot justly be regarded as a 
criterion by which its dramatic qualities are to be judged. 
In this particular instance, much of the success was 
due, as Professor Moulton says, to somewhat extraneous 
features such as the retention of the antiquities of the 
Elizabethan stage, and to the inclusion of a typical Eliza- 
bethan audience as a part of the presentation. Professor 
Gayley's views coincide with those expressed by Professor 
Moulton. Speaking of the present play, and others that 
have been recently revived by stage-societies and universi- 
ties, he adds^^ : 'But the interest evoked has been historical 

^ Repr. Eng. Corn. 2. xiii. 



Ixvi Introduction 

and literary, rather than dramatic' Aside from the spectac- 
ular features which aided the performance under discussion, 
it is clear, as Professor Tolman and Professor Robertson 
testify, that The Case is Altered possesses evident act- 
ing qualities, and that these contributed their share to its 
success. The episodes have considerable action, and the 
action moves forward with a fair degree of rapidity to the 
catastrophe, carrying suspense as well as interest in its 
wake. Furthermore, characters such as Jaques, Juniper, 
Count Ferneze, and Rachel, are sufficiently diverse to 
intensify this interest, and to broaden the scope of the 
play. 



THE CASE IS ALTERED 



TEXT 



EDITOR'S NOTE 

The text is a reproduction of an original quarto of 1609, 
owned by Mr. W. A. White, New York City. No changes 
have been made in spelling, punctuation, capitalization, or 
italics. Acts and scenes are not indicated after Act 4, 
scene i, and these have been supplied from that point. The 
quarto has no pagination. The footnotes to the text com- 
prise all variants of the five copies of the quarto which were 
collated, important stage-directions added by Gifford, and 
significant emendations made by Whalley and GifTord. 

B. Copy of the quarto in the Bodleian Library at 
Oxford. 

D. Copy in the library of the Duke of Devonshire. 
Mi, M2. Copies in the British Museum. 
G. Giflford. 
W. Whalley. 



A Plcafant Comedy, 

CALLED; 

The Cafe is Alterd. 



Ask hath bccnc fundiy times z&cd by thc 
children of thc Black-friers. 

Written by B b n. I o n » o k# 




Iftnted hxBArMomewStttm, zni^iOfdmBArr^g^, 
and are to be fold at the great North-doorc 
of Saint Paules Church. 1 6 o p. 

[B] 



BEN: lONSOH 



HIS 



CASE IS ALTERD. 



As it hath beene fundry times A6ied by the 
Children of the Blacke-fricrs. 




j4t LONDOTi^ 
rintcdfor BmholomcwSHtton, dwelling in Paulcs 
Church-yard nccrc the great north door<:of S» 
P^uIcs Church, i«o^. 



[Mi] 



f\ Pleafant Comedy, 

CALLED; 
The Cafe is Alcerd. 



As it hath bfcncfundiy times a(flcd by the 
children of the Black-friers. 




Printed for B^rthlomew Suttm, and Wittiam BArrenger^ 
and arc to be fold ar the great North-doorc 
of Saint Panics Church, i 6op. 



[DJ 



THE PERSONS OF THE PLAY 



Count Ferneze. 

Lord Paulo Ferneze, his Son. 

Camillo Ferneze, supposed 

Gasper. 
Maximilian, General of the 

Forces. 
Chamont, Friend to Gasper. 
Angelo, Friend to Paulo. 
Francisco Colonnia. 
Jaques de Prie, a Beggar. 
Antonio Balladino, Pageant 

Poet. 
Christophero, Count Ferneze's 

Steward. 
Sebastian, 1 

Martino, I 

> hts Servants. 

ViNCENTIO, 

Balthasar, j 



Valentine, Servant to Colonnia. 
Peter Onion, Groom of the Hall. 
Juniper, a Cobler. 
Pacue, Page to Gasper. 
Finio, Page to Camillo. 
Page to Paulo. 



Aurelia, ) Daughters to 

Phcenixella, ) Count Ferneze. 
Rachel de Prie. 



Sewer, Messenger, Servants, etc. 



SCENE— Milan. 



[A list of the Dramatis Pcrsonae does not appear in the quarto. 
For purposes of convenience, the list given by Gifford is reproduced.] 




A pleafant Comedy called, the 
Cafe is Alter d. 

Actus primi, Scaena prima. 

Sound? after a floiirifh: luniper a Cohler is difcouered, 
fitting at worke in his fhoppe and finging. 

luniper. Onion, Antony Baladino. 

OV wofidl wights giiie eare a while. 
And marke the tenor of my ftile. 
Which fhall fuch trembling hearts vnfold 
As feldome hath to fore bene told. 

'Enter Onion in haft. 

Such chances rare and dolefull newes Oni. fellow luniper 5 

Peace a Gods name. 

As may attempt your wits to mufe. Oni. Gods fo, heere man. 

A pox a God on you. 

And caufe fuch trickling teares to paffe, 

Except your hearts he flint or hraffe: Oni. luniper, 10 

To heare the newes which I fhall tell, luniper. 

That in Caftella once befell. 

Sbloud, where didft thou learne to corrupt a man in the 

midft of a verfe, ha? 

Onion. Gods lid man, feruice is ready to go vp man, 15 

you muft flip on your coate and come in, we lacke 

waiters pittyfully. 

lunip. A pittifull hearing, for now muft I of a 

merry Cobler become mourning creature. 



A . . . called,] 0111. G Sound?] om. G 

Onion, . . . Baladino.] om. G Antouy B 
12 Cuftella W 19 [a] mourning G 



a Cobler] om. G 
8 a God] om. G 



lo A pleafant Comedy, called [Act i 

Onion. Well youle come. ¥.xit Onion. 20 

lunip. Prefto. Go to, a word to the wife, away, 
flie ? vanifh : Lye there the weedes that I difdaine to 
weare. 

Anto. God faue you Maifter luniper. 

luni. What Signior Antonio Balladino, welcome 25 
fweet Ingle. 

Anto. And how do you fir? 

luni. Faith you fee, put to my fhifts here as poore 
retainers be oftentimes, firrah Antony ther's one of 
my fellowes mightely enamored of thee, and I faith you 30 
flaue, now your come Fie bring you together, i'ts Peter 
Onion, the groome of the hal, do you know him. 

Anto. No not yet, I affure you. 

luni. O he is one as right of thy humour as may 
be, a plaine fimple Rafcal, a true dunce, marry he hath 35 
bene a notable vilaine in his time : he is in loue, firrah, 
with a wench, & I haue preferd thee to him, thou fhalt 
make him fome prety Paradox or fome Aligory, how 
does my coate fit? well. 

Anto. I very well. JLnter Onion. 40 

Oni. Na Gods fo, fellow luniper, come away. 

lun. Art thou there mad flaue, I come with a 
powder?. Sirrah fellow Onion. I muft haue you pe- 
rufe this Gentleman well, and doe him good offices of 
refpect and kindneffe, as inftance fhall be giuen. 45 

Anto. Nay good maifter Onion what do you meane, 
I pray you fir you are to refpectue in good faith. 

Onion. I would not you fhould thinke fo fir, for 
though I haue no learning, yet I honour a fcholer in 
any ground of the earth fir, 50 

Shall I requeft your name fir ? 

Anto. My name is Antonio Balladino. 

Oni, Balladino f you are not Pageant Poet to the 
City of Millaine fir, are you. 

23 Enter Antonio Balladino. G 45 [Exit. G 



Scene i] The Cafe is Alterd ii 

Anto. I fupply the place fir : when a worfe cannot 55 
be had fir. 

Oni. I crie you mercy fir, I loue you the better for 
that fir, by lefu you muft pardon me, I knew you not, 
but Il'd pray to be better acquainted with you fir, I 
haue feene of your works. 60 

Anto. I am at your feruice good Maifter Onion, but 
concerning this maiden that you loue fir? what is fhe. 

Onion. O did my fellow luniper tell you ? marry fir, 
fhe is as one may fa}^, but a poore mans child indeede, 
and for mine owne part I am no Gentleman borne I 65 
muft confeffe, but my mind to me a kingdome is truly. 

Anto. Truly a very good faying. 

Onion. T'is fomewhat ftale, but that's no matter. 

Anto. O t'is the better, fuch things euer are like 
bread, which the ftaler it is, the more holefome. 70 

Onion. This is but a hungry comparifon in my 
iudgement. 

Anto. Why, I'le tell you, M. Onion, I do vfe as 
much ftale ftuffe, though I fay it my felfe, as any man 
does in that kind I am fure. Did you fee the laft 75 
Fageant, I fet forth? 

Onion. No faith fir, but there goes a huge report 
on't. 

Anto. Why, you fhal be one of my Mcecen-affes, 
Vie giue you one of the bookes, O you'le like it admir- 80 
ably. 

Oni. Nay that's certaine, I'le get my fellow luniper 
to read it. 

Anto. Reade it fir, I'le reade it to you. 

Onion. Tut then I fhall not chufe but like it. 85 

Anto. Why looke you fir, I write fo plaine, and 
keepe that old Decorum, that you muft of neceffitie 
like it ; mary you fhall haue fome now (as for example, 
in plaies) that will haue euery day new trickes, and 

66 is truly.] is. G 



12 A pleafant Comedy, called [Act i 

write you nothing but humours : indeede this pleafes the 90 
Gentlemen: but the common fort they care not for't, 
they know not what to make on't, they looke for good 
matter, they, and are not edified with fuch toyes. 

Onion. You are in the right, Fie not giue a halfe- 
peny to fee a thoufand on 'hem, I was at one the laft 95 
Tearme, but & euer I fee a more roguifh thing, I am 
a peece of cheefe, & no onion, nothing but kings & 
princes in it, the foole came not out a iot. 

Anto. True fir, they would haue me make fuch 
plaies, but as I tell hem, and they'le giue me twenty 100 
pound a play, I'le not raife my vaine. 

Onion. No, it were a vaine thing, and you fhould 
fir. 

Anto. Tut giue me the penny, giue me the peny, I 
care not for the Gentlemen I, let me haue a good 105 
ground, no matter for the pen, the plot fhall carry it. 

Onion. Indeed that's right, you are in print already 
for the beft plotter. 

Anto. I, I might as well ha bene put in for a dumb 
fhew too. no 

Oni. I marry fir, I marie you were not, ftand afide 
fir a while : 

'Enter an armd Sewer: fome halfe dozen in mourning 
coates following and paffe by with feruice. 

Enter Valentine. 

Onion. How now friend, what are you there? be 
vncouered. Would you fpeake with any man here? 

Valen. I, or elfe I muft ha' returnd you no anfwer. 115 

Oni. Friend, you are fomewhat to peremptory, let's 
craue your abfence: nay neuer fcorne it, I am a little 
your better in this place. Valen. I do acknowledge it. 

112 [Exit Antonio. G Enter . . . feruice:] An armed 

Sewer, followed by Juniper, Sebastian, Martino, Balthasar, 
ViNCENTio, and other Servants in mourning, with dishes, &c. passes 
over the stage. G 



Scene i] The Cafe is Alterd 13 

Onion. Do you acknowledge it? nay then you fhall 
go forth, He teach you how fhall acknowledge it 120 
another time ; go to, void, I muft haue the hall purg'd, 
no fetting vp of a reft here, packe, begone. 

Valen. I pray you fir is not your name Onion f 

Oni. Your friend as you may vfe him, and M. 
Onion, fay on. 125 

Yalen. M. Onion with a murraine, come come put 
off this Lyons hide, your eares haue difcouered you, 
why Peter! do not I know you Veter? 

Onion. Gods fo, \ dentine! 

Yalen. O can you take knowledge of me now fir? 130 

Oni. Good Lord, firra, how thou art altred with 
thy trauell? 

Yalen. Nothing fo much as thou art with thine 
office, but firra. Onion is the Count Ferneze at home? 

'Kxit Anthony. 

Oni. I Bully, he is aboue; and the Lord Faulo Fer- 135 
nese, his fon, and Maddam Aurelia, & maddam Fhoen- 
ixella, his daughters, But O Yalentinef 

Yalen. How now man, how doft thou? 

Oni. Faith fad, heauy, as a man of my coate ought 
to be. 140 

Yalen. Why man, thou wert merry inough euen 
now. 

Oni. True, but thou knoweft 
All creatures here foiorning, vpon this wretched earth. 
Sometimes haue a fit of mourning, as well as a fit of 145 

m,irth. 
O Yalentine, mine old Lady is dead, man. 

Yalen. Dead ! 

Oni. I faith. 

Yalen. When dyed fhe? " 150 

Onion. Mary, tomorrow fhall be three months, fhe 

120 how you W how [you] G 



14 A pleafant Comedy, called [Act i 

was feene going to heauen they fay, about fome fiue 
weekes agone! how now? trickling teares, ha? 

Valen. Faith thou haft made me weepe with this 
newes. i55 

Onion. Why I haue done but the parte of an Onion, 
you muft pardon me. 

Scsene. 2. 

Enter the fewer, paffe by with feruice againe, the feru- 

ingmen take knowledge of Valentine as they goe. 

luniper falutcs him. 

luni. What Valentiuef fellow Onion, take my difh 

1 prithee you rogue firrah, tell me, how thou doft, 
fweet Ingle. 

Valen. Faith, luniper, the better to fee thee thus 
frolicke. 'Exit Oni. 5 

luni. Nay, flid I am no changling, I am luniper 
ftill. I keepe the priftmate ha, you mad Hierogliphick, 
when fhal we fwagger. 

Valen. Hierogliphick, what meaneft thou by that. 

luni. Meane? Gods fo, ift not a good word man? 10 
what? ftand vpon meaning with your freinds. Puh, 
Abfconde. 

Valen. Why, but ftay, ftay, how long has this 
fprightly humor haunted thee? 

luni. Foe humour, a foolifh naturall gift we haue 15 
in the Aquino ctiall. 

Valen. Naturall, flid it may be fupernaturall, this? 

luni. Valentine, I prithee ruminate thy felfe wel- 
come. What fortuna de la Guerra. 

Scasne . . . him.] Re-enter the Sewer, followed by the Servants 
with dishes, as before: they all pass over the stage but Juniper. G 

2 prithee [Exit Onion with the dish.] G 7 priftinate; W, G 
17 all this. IV 



Scene 3] The Cafe is Alterd 15 

Valen. O how pittifully are thefe words forc't. 20 
As though they were pumpt out on's belly. 

luni. Sirrali Ingle, I thinke thou haft feene all the 
ftrange countries in Chriftendome fince thou wentft? 

Valen. I haue feene fome luniper. 

luni. You haue feene Conftantinoplef 25 

Valen. I, that I haue. 

luni. And lerufalem, and the Indies, and Goodwine 
fands, and the tower of Babylon, and Venice and all. 

Valen. I all; no marie and he haue a nimble tong, 
if he practife to vault thus from one fide of the world 30 
to another. 

luni. O it's a moft heauenly thing to trauel, & fee 
countries, efpecially at fea, and a man had a pattent not 
to be ficke. 

Valen. O fea ficke left, and full of the fcuruie. 35 



Scaene 3. 

'Enter luniper, Antonio, Sebaftian, Martino, Vincentio, 
Balthafar and Chriftophero. 

Seba. Valentine f welcome I faith how doft firra? 
Mart. How do you good Valentine. 
Vincen. Troth, Valentine, I am glad to fee you. 
"Balth. Welcome fweet rogue. 

Sebaft. Before God he neuer lookt better in his life. 5 
Balth. And how ift man? what. Alia Coragio. 
Valen. Neuer better gentlemen I faith. 
luni. S'will here comes the fteward. 
Chrift. Wh)^ how now fellowes all here? and 
nobody to waight aboue now they are ready to rife? 10 

31 [Aside. G Scaene . . . Chriftophero.] Re-enter Sebas- 

tian, Martino, Vincentio, and Balthasar, G 8 Enter Chris- 

TOPHERO. G 



1 6 A plea f ant Comedy, called [Act i 

looke vp one or two Signior France fco Colomia's man 
how doo's your good maifter. 

'Exeunt lumper, Martino, Vincentio. 

Valen. In health fir he will be here anon. 

Chrifta. Is he come home, then? 

Valen. I fir he is not paft fixe miles hence, he fent 15 
me before to learne if Count Ferneze were here and 
returne him word. 

Chrifto. Yes, my Lord is here; and you may tel 
your maifter he fhal come very happily to take his 
leaue of Lord Paulo Ferneze: who is now inftantly to 20 
depart with other noble gentlemen, vpon fpeciall feruice. 

Valen. I will tell him fir. 

Chrifto. I pray you doe, fellowes make him drinke. 

Valen. Sirs, what feruice ift they are imployed in? 

Sebaft. Why againft the French they meane to haue 25 
a fling at Millaine againe they fay. 

Valen. Who leades our forces, can you tell? 

Sebaft. Marry that do's Signior Maximilianf he is 
aboue, now. 

Valen. Who, Maximilian of Vicenzaf 30 

Bfl/f. I he? do you know him? 

Valen. Know him? O yes he's an excellent braue 
foldier. 

Ba/?. I fo they fay, but one of the moft vaine glori- 
ous men in Europe. 35 

Valen. He is indeed, marry exceeding valient. 

Sebaft. And that is rare. 

Bait. What. 

Sebaft. Why to fee a vaineglorious man valient. 

Valen. Well he is fo I affure you. Enter luniper. 40 

luni. What no further yet, come on you precious 
rafcall, fir Valentine, He giue you a health I faith ; for 
the heauens you mad Capriceio, hold hooke and line. 

12 doo's] doft B 12 your] our G 



Scene 4] The Cafe is Alterd 17 

Scsene 4. 
'Enter Lord Paulo Fernese, his boy following him. 

Pau. Boy. 
Boy. My Lord 

Van. Sirrah go vp to Signior Angelio, 
And pray him (if he can) deuife fome meanes, 
To leaue my father, and come fpeake with me. 5 

Boy. I will my Lord. 

Pau. Well heauen, be aufpicious in the euent; 
For I do this againft my Genius, 
And yet my thoughts cannot propofe a reafon, 
Why I fhould feare, or faint thus in my hopes, 10 

Of one fo much endeered to my loue. 
Some fparke it is, kindled within the foule: 
Whofe light yet breaks not to the outward fence. 
That propagates this tymerous fufpect; 
His actions neuer carried any face 15 

Of change, or weaknes : then I iniury him ? 
In being thus cold conceited of his faith, 
O here he comes. Enter Angela. 

Ang. How now fweet Lord, whats the matter? 
Fail. Good faith his prefence makes me halfe 
afhamd. 
Of my ftraid thoughts. Boy. Beftow your selfe. 20 

Exit Boy. 
Where is my father, Signior Angelio. 

Ang. Marry in the galery, where your Lordfhip 

left him. 
Fau. Thats well. Then Angelio I will be briefe. 
Since time forbids the vfe of circumftance, 

Scaene . . . him.] Scene II. A Room in count Ferneze's House. 
Enter lord Paulo Ferneze, followed by his Page. G 6 [Exit. G 

13 outer W 18 Re-enter Page with Angelo. G 20 [Exit 

Page. G 



1 8 A pleafant Comedy, called [Act i 

How well you are receiued in my affection, 25 

Let it appeare by this one inftance, onely 

That now I will deliuer to your truft, 

The deereft fecrets, treafurd in my bofome, 

Deare An^elio. You are not euery man, 

But one, whome my election hath defign'd, 30 

As the true proper obiect of my foule : 

I vrge not this t'infinuate my defert, 

Or fupple your tri'd temper, with foft phrafes ; 

True friendfhip lothes fuch oyly complement: 

But from th' aboundance of that loue, that flowes 35 

Through all my fpirits, is my fpeech enforc'd. 

Ang. Before your Lordfhip do proceed too far. 
Let me be bould to intimate thus much ; 
That what fo ere your wifedome hath t'expofe, 
Be it the waightieft and moft rich affaire, 40 

That euer was included in your breaft, 
My faith fhall poife it, if not 

Fau. O no more, 
Thofe words haue rapt me with their fweet effects, 
So freely breath'd, and fo refponfible. 
To that which I endeuoured to extract, 45 

Arguing a happy mixture of our foules. 

Ange. Why were there no fuch fympathy fweete 
Lord? 
Yet the impreffure of thofe ample fauours, 
I haue deriu'd from your vnmatched fpirit. 
Would bind my faith to all obferuances. 50 

Pau. How ! fauours Angello, 6 fpeake not of them. 
They are meere paintings, and import no merit, 
Lookes my loue well? thereon my hopes are plac't: 
Faith, that is bought with fauours, cannot laft. Enters 

Boy. My Lord. Boy. 55 

Pau. How now? 

43 wrapt W 54 Re-enter Page. G 



Scene 4] The Cafe is Alterd 19 

Boy. You are fought for all about the houfe, 
within, 
The Count your father cals for you. 

Pau. God, what croffe euents do meet my purpofes r 
Now will he violently fret and grieue 60 

That I am abfent. Boy, fay I come prefently: 'Kxit 
Sweet Angello, I cannot now infift Boj. 

Vpon particulars, I muft ferue the time 
The maine of all this is, I am in loue. 

Angc. Why ftarts your Lordfhip? 6$ 

Pau. I thought I heard my father comming hither- 
ward, lift, ha? 

Ange. I heare not any thing, it was but your imagi- 
nation fure. 

Pau. No. 70 

Ange. No, I affure your Lordfhip. 

'Pau. I would worke fafely. 

Ange. Why, has he no knowledge of it then? 

Pau. O no, no creature yet pertakes it but your felf e 

In a third perfon, and beleeue me friend, 75 

The world containes not now another fpirit. 

To whom I would reueile it. Harke, harke, 

„ , ( Signior Paulo. ) ... 

6eruants. < ^ , „ > withm. 

( Lord Ferneze. ) 

Ange. A pox vpon thofe brazen throated flaues, 80 

What are they mad, trow? 

Paw. Alas, blame not them, 
Their feruices are (clock-like) to be fet, 
Backward and forward, at their Lords command, 
You know my father's wayward, and his humour 
Muft not receiue a check, for then all obiects, 85 

Feede both his griefe and his impatience. 
And thofe afifections in him, are like powder, 
Apt to enflame with euery little fparke. 
And blow vp reafon, therefore Angela, peace. 

70 No.] No? Mi 



within. "^ 



A pleafant Comedy, called [Act i 

'Count. Why this is rare, is he not in the 

garden ? 90 

Crift. I know not my Lord. 
■ Count. See, call him? 
Fau. He is comming this way, let's withdraw a 
little. Exeunt. 

... f Seruants. Signior Faulo, Lord Fernese, 
^^*^^"- i Lord Faulo. 95 



Scsene 5. 

Enter Count Ferneze, Maximilian, Aurelia, Fhce- 

nixella, Sebaft. Balthafar. 

Count. 

'W TT THere fhould he be, trow? did you looke in 
V V the armory? 

Sebaft. No my Lord. 
Count. No, why there? 6 who would keepe fuch 
drones? Kxeunt Sebaft. and Baltho. 

F.nter Martino. 
How now, ha ye found him? 

Mart. No my Lord. 5 

Count. No my Lord, I fhall haue fhortly all my 
family 

Speake nought, but no my Lord, where is Chriftophero, 

'Enter Chrriftophero. 
Looke how he ftands, you fleepy knaue, Exit Martino. 
What is he not in the Garden? 10 

Chrifto. No my good Lord. 

Count. Your good Lord, 6 how this fmels of f ennell. 

Enter Sebaft. Baltha. 
You haue bene in the garden it appeares, well, well. 

Scaene . . . Count.] Enter count Ferneze, Maximilian, Aurelia, 
Phcenixella, Sebastian, and Balthasar. G 



Scene 5] The Cafe is Alterd 21 

Balth. We cannot find him my Lord. 

Sebaft. He is not in the armory. 15 

Count. He is not, he is no where, is he? 

Maxi. Count Fernese. 

Count. Signior. 

Maxi. Preferue your patience honorable Count. 

Count. Patience? a Saint would loofe his patience 
to be croft, 20 

As I am with a fort of motly braines, 
See fee, how like a neft of Rookes they ftand, 

Fnter Onion. 
Gaping on one another ! now Diligence, what news 
bring you? 

Oni. Ant pleafe your honour. 25 

Count. Tut, tut, leaue pleafing of my honour Dili- 
gence, you double with we, come. 

Oni. How : does he find fault with Vleafe his 
Honour. S'wounds it has begun a feruingmans fpeech, 
euer fince I belongd to the blew order : I know not 30 
how it may fhew, now I am in blacke, but 

Count. Whats that, you mutter fir ? will you proceed ? 

Oni. Ant like your good Lordfhip. 

Count. Yet more, Gods precious. 

Oni. What, do not this like him neither? 35 

Count. What fay you fir knaue? 

Oni. Mary I fay your Lordfhip were beft to fet me 
to fchoole againe, to learne how to deliuer a meffage. 

Count. What do you take exceptions at me then. 

Om. Exception? I take no exceptions, but by Gods 40 
fo your humours 

Count. Go to you are a Raskall, hold your tongue, 

Oni. Your Lordfhips poore feruant, L 

Count. Tempt not my patience. 

23 Gaping at W 27 we,] me, W, G 31 [Aside. G 

35 [Aside. G 40 Exception?] Exceptions! G 



22 A plea f ant Comedy, called [Act i 

Oni. Why I hope I am no fpirit, am I ? 45 

Maxi. My Lord, command your Steward to correct 
the flaue. 

Oni. Correct him, S'bloud come you and correct 
him and you haue a minde to it, correct him, that's a 
good ieft I faith, the Steward and you both, come and 50 
correct him. 

Count. Nay fee, away with him, pull his cloth ouer 
his eares. 

Oni. Cloth ? tell me of your cloth, here's your cloth, 
nay and I mourne a minute longer, I am the rotteneft 55 
Onion that euer fpake with a tongue. 

They thruft him out. 

Maxi. What call your hind's count Vernezef 

Count. His name is Onion Signior, 

yiaxi. I thought him fome fuch fawcy companion. 

Count. Signior Maximillian. 60 

Maxi. Sweet Lord. 

Count. Let me intreat you, you would not regard 
Any contempt flowing from fuch a fpirit. 
So rude, fo barbarous. 

Maxi. Moft noble Count vnder your fauour — 65 

Coun. Why He tell you Signior, 
Heele bandy with me word for word, nay more. 
Put me to filence, ftrike me perfect dumb ; 
And fo amaze me, that oftentimes I know not. 
Whether to check or cherifh his prefumption : 70 

Therefore good Signior. 

Maxi. Sweet Lord fatisfie your felf e, I am not now 
to learn how to manage my affections, I haue obferu'd, 
and know the difference betweene a bafe wretch and a 
true man, I can diftinguifh them, the property of the 75 
wretch is, he would hurt and cannot, of the man, he 
can hurt, and will not. 

57 caIl[you] G 57 hind's [name,] G 57 call . . . hind's] call 
you your hind, IV 77 not. [Aurelia smiles. G 



Scene 5] The Cafe is Alterd 23 

Coun. Go to, my merry daughter, 6 thefe lookes, 
Agree well with your habit, do they not? 

Knter luniper. 

lunip. Tut, let me alone. By your fauour, this is 80 
the Gentleman I thinke. Sir you appeare to be an honor- 
able Gentleman, I vnderftand, and could wifh ( for mine 
owne part) that things were conden't otherwife then 
they are: but (the world knowes) a foolifh fellow, 
fomewhat procliue, and hafty, he did it in a preiudicate 85 
humour ; mary now vpon better computation, he 
wanes ; he melts ; his poore eyes are in a cold fweat. 
Right noble Signior, you can haue but compunction, I 
loue the man, tender your compaffion. 

Ma;ri. Doth any man here vnderftand this fellow? 90 

lunip. O God fir, I may fay fruftra to the compre- 
henfion of your intellection. 

Maxi. Before the Lord, he fpeakes all riddle, I 
thinke. 
I muft haue a comment ere I can conceiue him. 95 

Count. Why he fues to haue his fellow Onion 
pardon'd. 
And you muft grant it Signior. 

Maxi. O with all my foule my Lord, is that his 
motion ? 

lunip. I fir, and we fhall retort thefe kinde fauours 100 
with all allacrity of fpirit, we can fir, as may be moft 
expedient, as well for the quality as the caufe, till when 
in fpight of this complement: I reft a poore Cobler, 
feruant to my honorable Lord here, your friend and 
luniper. Kxit. 105 

Maxi. How luniperf 

Count. I Signior. 

M.axi. He is a fweete youth, his tongue has a happy 
turne when he fleepes. 

79 Enter Juniper in his cobler's dress. G 



24 A pleafant Comedy, called [Act i 

Enter Paulo Yerneze, Francifco, Colomea, 
Angela, Valentine. 

Count. I for then it refts, O Sir your welcome, no 

Why God be thanked you are found at laft: 
Signior Coloma truly you are welcome, 
I am glad to fee you fir fo well returned. 

Fran. I gladly thanke your honour, yet indeed 
I am fory for fuch caufe of heauineffe, 115 

As hath poffeft your Lordfhip in my abfence. 

Count. O Francifco' you knew her what fhe was ! 

Fran. She was a wife and honorable Lady. 

Count. I was fhe not! well weepe not fhe is gone, 
Paffons duld eye can make two grieues of one, 120 

Whom death marke out, vertue, nor bluod can faue. 
Princes, as beggers, all muft feed the graue. 

Max. Are your horfe ready Lord Faulo, 

Fau. I fignior the ftay for vs at the gate. 

Max. Well tis good. Ladies I will take my leaue 125 
of you, Be your fortunes as your felues? faire. Come 
let vs to horfe, Count Ferneze I beare a fpirit full of 
thanks for all your honorable courtefies. 

Count: Sir I could wifh the number and value of 
them more in refpect of your deferuings. But Signior 130 
Maximtllian. I pay you a word in priuate. 

Aur. I Faith brother you are fitted for a generall 
yonder, Befhrow my heart (If I had Fortnnatus hat 
here) and I would not wifh my felfe a man and go 
with you, only t' enioy his prefence. 135 

Fau. Why do you loue him fo well fifter. 

Aur. No by my troth, but I haue fuch an odde 
prety apprehenfion of his humour me thinks : that I am 
eene tickled with the conceite of it. 
O he is a fine man. 140 

Ang. And me thinks another may be as fine as he. 

Enter . . . Colomea, . . .] Enter . . . Colonnia, . . . G 
123 horses G 131 pay] pray W, G 131 [They walk aside. G 



Scene 5] The Cafe is Alterd 25 

Kur. O Angelio, do you thinke I do vrge any com- 
parifon againft you ? no, I am not fo illbred, as to be a 
deprauer of your worthines : beleeue me, if I had not 
fome hope of your abiding with vs, I fhould neuer 145 
defire to go out of black whilft I Hued: but learne to 
fpeake i' the nofe, and turne puritan prefently. 

An^. I thanke you Lady : I know you can flout. 

Aur. Come doe you take it fo? I faith you wrong 
me. 150 

Fran. I, but Maddame, 
Thus to difclaime in all the effects of pleafure, 
May make your fadneffe feeme to much affected, 
And then the proper grace of it is loft. 

Vhoenix Indeed fir, if I did put on this fadneffe 155 
Onely abroad, and in Society, 
And were in priuate merry ; and quick humor'd ; 
Then might it feeme affected and abhord : 
But as my lookes appeare, fuch is my fpirit, 
Drown'd vp with confluence of griefe, and melancholy, 160 
That like to riuers run through all my vaines. 
Quenching the pride and feruour of my bloud. 

Max. My honorable Lord ? no more : 
There is the honour of my bloud ingag'd, 
For your fonnes fafety. 

Count. Signior, blame me not, 165 

For tending his fecurity fo much. 
He is mine onely fonne, and that word onely. 
Hath with his ftrong, and reprecuffiue found, 
Stroke my heart cold, and giuen it a deepe wound. 

Max. Why but ftay, I befeech you, had your Lord- 170 
fhip euer any more fonnes then this. 

Count. Why haue not you know en it Maximilian f 

Max. Let my Sword faile me then. 

Count. I had one other yonger borne then this, 

142 do vrge any] urge any G do urge my W 153 to] 

so W 168 his] its IV 



26 A pleafant Comedy, called [Act i 

By twife fo many howers as would fill 175 

The circle of a yeare, his name Camillo, 

Whome in that blacke, and fearfuU night I loft, 

(Tis now a nineteene yeares agone at leaft. 

And yet the memory of it fits as frefh 

Within my braine as twere but yefterday) 180 

It was that night wherein the great Chamont, 

The generall for France furprifed Vicensa, 

Methinks the horrour of that clamorous fhout 

His fouldiers gaue' when they attaind the wall, 

Yet tingles in mine eare, me thinkes I fee 185 

With what amazed lookes, diftracted thoughts, 

And minds confuf'd, we, that were citizens. 

Confronted one another : euery ftreet 

Was fild with bitter felfe tormenting cries, 

And happy was that foote, that firft could preffe, 190 

The flowry champaigne, bordering on Verona. 

Heere I (imploy'd about my deare wiues fafety) 

Whofe foule is now in peace) loft my Camillo. 

Who fure was murdered by the barbarous Souldiers, 

Or elfe I fhould haue heard — my heart is great. 195 

Sorrow is faint f and paffion makes me fweat. 

Max Grieue not fweet Count: comfort your fpirits, 
you haue a fonne a noble gentleman, he ftands in the 
face of honour: For his fafety let that be no queftion. 
I am maifter of my fortune, and he fhall fhare with 2CX) 
me. Farewell my honorable Lord. Ladies once more 
adiew, for your felfe maddam you are a moft rare 
creature, I tell you fo, be not proud of it, I loue you: 
come Lord Paulo to horfe. 

Paw. Adiew good Signior Francefco: farewell fifter. 205 
Sound a tucket, and as they paffe euery one feue- 
rally depart, Maximilian, Paulo Ferne- 
ze and Angela remaine 

181 that] the W 185 ears W, G 205 sisters. G 

Sound . . . remaine] A tucket sounds. Exeunt severally. 



Scene 5] The Cafe is Alterd 27 

Ang. How fhall we rid him hence. 

Paw. Why well inough? fweet Signior Maximilian, 
I haue fome fmall occafion to ftay: 
If it may pleafe you but take horfe afore 
He ouer take you, ere your troopes be rang'd. 210 

Ma;?;. Your motion hath taf t wel : Lord Fernese I 
go. "Exit Max. 

Vau. Now if my loue faire Rachel, were fo happy, 
But to looke forth. See fortune doth me grace. 

"Enter Rachel. 
Before I can demaund? how now loue. 215 

Where is your father? 

Each. Gone abroad my Lord: 

Fau. Thats well. 

Rach. I but I feare heele prefently returne, 
Are you now going my moft honored Lord? 

Pau. I my fweet Rachel. 220 

Ang. Before God, fhe is a fweet wench. 

Pau. Rachel I hope I fhall not need to vrge, 
The facred purity of our effects, 
As if it hung in triall or fufpence : 

Since in our hearts, and by our mutuall vowes, 225 

It is confirmd and feald in fight of heauen. 
Nay doe not weepe, why ftarte you^ feare not, Loue. 
Your father cannot be return'd fo foone, 
I prithee doe not looke fo heauily. 
Thou fhalt want nothing. 

Rach. No is your prefence nothing? 230 

I fhall want that, and wanting that, want all : 
For that is all to me. 

Pau. Content thee fweet, 

Scene III. The Street before Jaques de Prie's House. Enter 
Paulo Ferneze, and Angelo, followed by Maximilian. G 
210 ranged. Mi 211 hath] doth W, G 214 But] As W 

221 [Aside. G 227 ftarte] ftare W 228 returned Mi 

229 heauily Mi 230 nothing . . . nothing, Mi 231 all Mi 

232 fweet Ml 



28 A pleafant Comedy, called [Act 2 

I haue Made choife here of a conftant friend 

This gentleman? one, whofe zealous loue 

I doe repofe more, then on all the world, 235 

Thy beauteous felfe excepted: and to him, 

Haue I committed my deere care of thee. 

As to my genius, or my other foule, 

Receiue him gentle loue, and what deflects 

My abfence proues, his prefence fhall fupply. 240 

The time is enuious of our longer ftay. 

Farewell deere Rachel. 

Rack: Moft deere Lord, adew, 
Heauen and honour crowne your deeds, and you. 

Kxit Rachel. 

Paw. Faith tell me Angelio how doft thou like her? 

Ang. Troth well my Lord, but fhall I fpeake my 
mind. 245 

Pau. I prithee doe. 

Ang. She is deriud too meanely to be wife 
To fuch a noble perfon, in my iudgement. 

Paw. Nay then thy iudgement is to meane, I fee: 
Didft thou neare read in difference of good, 250 

Tis more to fhine in vertue then in bloud. 

Knter laqnes. 

Ang. Come you are fo fententious my Lord. 

Paw. Here comes her father. How doft thou good 
laquesf 

Ang. God faue thee Jaques. 

lag. What fhould this meane? Rachel open the dore. 255 

Kxit laques. 

Ang. Sbloud how the poore flaue lookes, as though 
He had bene haunted by the fpirit Lar, 

234 one, whofe] on whofe W one, [on] whose G 238 foule. 

Mi 239 Rsceiue hi . . . loue . . . deflects, Mi 243 you.] 

you, Mi 249 meene. Mi 249 fee] fear W 250 good 

Mi 256 looks [aghast,] G 



Scene i] The Cafe is Alterd 29 

Or feene the ghol't of fome great Satrapas 
In an vnfauory fheet. 

Paw. I mufe he fpake not, behke he was amazd 260 

Comming fo fuddenly and vnprepard? Well lets go. 

Exeunt. 

Actus fecundi Scsena prima. 

'Enter laques folus. 

SO now inough my heart, beat now no more. ; 
At leaft for this afright, what a could fweat 
Flow'd on my browes, and ouer all my bofome ! 
Had I not reafon? to behold my dore 

Befet with vnthrifts, and my felfe abroad? 5 

Why laques f was their nothing in the houfe 
Worth a continuall eye, a vigelent thought, 
Whofe head fhould neuer nod, nor eyes once wincke? 
Looke on my coate, my thoughts ; worne quite thredbare, 
That time could neuer couer with a nappe, 10 

And by it learne, neuer with nappes of fleepe, 
To fmother your conceipts of that you keepe. 
But yet, I maruell, why thefe gallant youths 
Spoke me fo f aire, and I efteemd a beggar ? 
The end of flattery, is gaine, or lechery : 15 

If they feeke gaine of me, they thinke me rich. 
But that they do not: for their other obiect: 
Tis in my handfome daughter, if it be. 
And by your leaue, her handfomneffe may tell them 
My beggery counterfeits, and, that her neatneffe, 20 

Flowes from fome ftore of wealth, that breakes my 

coffers, 
With this fame engine, loue to mine owne breed. 

258 Satrapas. Mi 260 not,] no, Mi 261 go: Mi 

Actus . . . folus.] Act II. Scene I. The Court-yard, at the 
back of Jaques' House. Enter Jaques. G ii knaps W 



3© A pleafant Comedy, called [Act 2 

But this is anfwered : Beggers will keepe fine, 

Their daughters, being faire, though themfelues pine. 

Well then, it is for her, I, t'is fure for her, 25 

And I make her fo briske for fome of them. 

That I might Hue alone once with my gold. 

O t'is a fweet companion ! kind and true, 

A man may truft it when his father cheats him ; 

Brother, or friend, or wife, 6 wondrous pelfe, 30 

„That which makes all men falfe, is true it felfe. 

But now this maid, is but fuppos'd my daughter: 

For I being Steward to a Lord of France, 

Of great eftate, and wealth, called Lord Chammount, 

He gone into the warres, I ftole his treafure; 35 

(But heare not, any thing) I ftole his treafure. 

And this his daughter, being but two yeares old, 

Becaufe it lou'd me fo, that it would leaue 

The nurfe her felfe, to come into mine armes. 

And had I left it, it would fure haue dyed, 40 

Now herein I was kinde, and had a confcience ; 

And fince her Lady mother that did dye 

In child-bed of her, loued me paffing well, 

It may be nature fafhiond this affection. 

Both in the child and her : but hees ill bred, 45 

That ranfackes tombes, and doth deface the dead. 

rie therefore fay no more : fuppofe the reft, 

Here haue I chang'd my forme, my name and hers. 

And Hue obfurely, to enioy more fafe 'Enter Rachel. 

My deereft treafure. But I muft abroad, Rachel. 50 

Rach. What is your pleafure fir? 

lag. Rachel I must abroad. 
Lock thy felfe in, but yet take out the key. 
That whofoeuer peepes in at the key-hole, 
May yet imagine there is none at home. 55 

Rach. I will fir. 

laq. But harke tliee Rachel: fay a theefe fhould 
come. 



Scene 2] The Cafe is Alterd 31 

And miffe the key, he would refoule indeede 
None were at home, and fo breake in the rather : 
Ope the doore Rachel, fet it open daughter ; 60 

But fit in it thy felf e : and talke alowd, 
As if there were fome more in houfe with thee: 
Put out the fire, kill the chimnies hart, 
That it may breath no more then a dead man, 
The more we fpare my child, the more we gaine, 65 

'Exeunt. 

Scasne 2. 
Enter Chriftophero, luniper and Onion. 

CHrift. What fayes my fellow Onion t come on. 
Oni. All of a houfe fir, but no fellowes, you are 
my Lords Steward, but I pray you what thinke 
you of loue, fir? 

Chrift. Of loue Onion f Why it's a very honour- 5 
able humor. 

Oni. Nay if it be but worfhipfuU I care not. 

lunip. Go to, it's honorable, checke not at the con- 
ceit of the Gentleman. 

Oni. But in truth fir, you fhall do well to think well 10 
of loue : 
For it thinkes well of you, in me, I affure you. 

Chrif. Gramercy fellow Onion: I do thinke well, 
thou art in loue, art thou? 

Oni. Partly fir, but I am afham'd to fay wholy. 15 

Chrif. Well, I will further it in thee to any honeft 
woman, or maiden, the beft I can. 

lunip. Why now you come neere him fir, he doth 
vaile, 

62 th' house G Scaene . . . Onion.] Scene II. A Room 

ill count Ferneze's House. Enter Christophero, Juniper, and 
Onion. G 



32 A pleafant Comedy, called [Act 2 

He doth remunerate, he doth chaw the cud in the 20 

kindneffe 

Of an honeft imperfection to your worfhip. 

Chrif. But who is it thou loueft fellow Onionf 

Oni. Mary a poore mans daughter, but none of the 
honefteft, I hope. 25 

Chrif. Why, wouldft thou not haue her honeft? 

Oni. O no, for then I am fure fhe would not haue me. 
T'is Rachel de Prie. 

Chrif. Why, fhe hath the name of a very vertuous 
mayden. 30 

lunip. So fhee is fir, but the fellow talkes in quid- 
dits, he. 

Chrif. What wouldft thou haue me do in the matter ? 

Oni. Do nothing fir, I pray you, but fpeake for me. 

Chrif. In what maner? 35 

Oni. My fellow luniper can tell you fir. 

lunip. Why as thus fir. Your worfhip may com- 
mend him for a fellow fit for confanguinity, and that 
he fhaketh with defire of procreation, or fo. 

Chrif. That were not fo good, me thinkes. 40 

lunip. No fir, why fo fir? what if you fhould fay to 
her, correborate thy felfe fweete foule, let me diftin- 
guifh thy pappes with my fingers, diuine Mumps, prety 
Paftorellaf lookeft thou fo fweet and bounteous? 
comfort my friend here. 45 

Chrif. Well I perceiue you v/ifh, I fhould fay fome- 
thing may do him grace, and further his defires, and 
that be fure I will. 

Oni. I thanke you fir, God faue your life, I pray 
God fir. 50 

lunip. Your worfhip is too good to Hue long : youle 
contaminate me no feruice. 

Chrif. Command thou wouldeft fay, no good luniper. 

20 chew G 31 quiddities, W 49 pray God] pray, G 



Scene 3] The Cafe is Alterd 33 

lunip. Health and wealth fir. 

'Exeunt Onion and luniper. 

Chrif. This wench wil I folicite for my felfe, 55 

Making my Lord and maifter priuy to it ; 
And if he fecond me with his confent, 
I will proceede, as hauing long ere this, 
Thought her a worthy choyce to make my wife. Exit. 



Scsene 3. 

Enter Aurelia, Pha^nixella. 

AVre. Roome for a cafe of matrons coloured blacke, 
How motherly my mothers death hath made vs ? 
I would I had fome girles now to bring vp ; 
O I could make a wench fo vertuous, 

She fliould fay grace to euery bit of meate, 5 

And gape no wider then a wafers thickneffe : 
And fhe fhould make French curfies, fo moft low. 
That euery touch fhould turne her ouer backward. 

Phceni. Sifter, thefe words become not your attire, 
Nor your eftate: our vertuous mothers death 10 

Should print more deepe effects of forrow in vs, 
Then may be worne out in fo little time. 

Aure. Sifter, faith you take too much Tobacco, 
It makes you blacke within, as y' are without. 
What true-ftich fifter? both your fides alike? 15 

Be of a fleighter worke: for of my word. 
You fhall be fold as deere or rather deerer? 
Will you be bound to cuf tomes and to rites f 
Shed profitable teares, weepe for aduantage; 
Or elfe, do all things, as you are enclynd. 20 

Hate when your ftomacke ferues (faith the Phyfitian) 

59 Thought] Though Mi Scsene . . . Phoenix ella.] Scene 

III. Another Room in the Same. Enter, etc. G 13 i' faith 

W, G 21 Hate] Eat W. G 



34 A pleafant Comedy, called [Act 2 

Not at eleuen and fixe. So if your humour 

Be now affected with this heauineffe. 

Giue me the reines and fpare not, as I do, 

In this my pleafurable appetite, 25 

It is Prcecifianifme to alter that 

With auftere iudgement, that is giuen by nature. 

I wept you faw too, when my mother dyed: 

For then I found it eafier to do fo. 

And fitter with my moode, then not to weepe. 30 

But now tis otherwife, another time 

Perhaps I fhall haue fuch deepe thoughts of her. 

That I fhall weepe afrefh, fome tweluemonth hence, 

And I will weepe, if I be fo difpos'd. 

And put on blacke, as grimly then, as now ; 35 

Let the minde go ftill with the bodies ftature, 

Judgement is fit for Judges, giue me nature. 

Sc3ene. 4. 
Enter Aurelia, Phcenixella, Francifco, Angelo. 

FRan. See Signior Angelo here are the Ladies, 
Go you and comfort one. He to the other. 
Ange. Therefore I come fir, I'le to the eldeft. 
God faue you Ladies, thefe fad moodes of yours, 
That make you choofe thefe folitary walkes, 5 

Are hurtfull for your beauties. 
Aure. If we had them. 

Ange. Come, tliat condition might be for your 
hearts. 
When you proteft faith, fince we cannot fee them. 
But this fame heart of beauty, your fweet face 
Is in mine eye ftill. 

24 me] it W , G 30 moode,] mode, W Scsene . . . 

Angelo.] Enter Francisco Colonnia and Angelo. G 
4 moodes] modes W 



Scene 4] The Cafe is Alterd 35 

Aure. O you cut my heart 10 

with your fharpe eye. 

Knge. Nay Lady thats not fo, your heart's to hard. 

Aure. My beauties hart? 

Ange. O no. 
I meane that reg^ent of affection, Maddam, 15 

That tramples on al loue with fuch contempt 
n this faire breaft. 

Aur. No more, your drift is fauour'd, 
I had rather feeme hard hearted 

Ang. Then hard fauour'd. 
Is that your meaning, Lady? 

Aur. Go too fir. 
Your wits are frefh I know, they need no fpur. 20 

Ang. And therefore you wil ride them. . 

Aur. Say I doe. 
They will not tire I hope? 

Ang. No not with you, hark you fweet Lady. 

Yran. Tis much pitty Maddam. 
You fhould haue any reafon to retaine 25 

This figne of griefe, much leffe the thing difignde. 

Vhce. Griefes are more fit for Ladies then their 
pleafures. 

¥ran. That is for fuch as follow nought but 
pleafures. 
But you that temper them fo wel with vertues, 
Vfing your griefes fo it would prooue them pleafures. 30 
And you would feeme in caufe of griefes & pleafures 
equally pleafant. 

VhoB Sir fo I do now. 
It is the exceffe of either that I ftriue 

So much to fhun in all my proou'd endeauours, 35 

Although perhaps vnto a generall eye, 
I may appeare moft wedded to my griefes, 

17 n] in W, G 23 [Walks aside with Aur. G 



36 A pleafant Comedy, called [Act 2 

Yet doth my mind for fake no taft of pleafure, 

I meane that happy pleafure of the foule, 

Deuine and facred contemplation 40 

Of that eternall, and moft glorious bliffe, 

Propofed as the crowne vnto our foules. 

Fran. I will be filent, yet that I may ferue 
But as a Decade in the art of memory 
To put you ftil in mind of your owne vertues 45 

When your too ferious thoughts make you too fad) 
Accept me for your feruant honored Lady. 

Phocn. Thofe cerimonies are too comon fignior 
Vrancis, 
For your vncommon grauitie, and iudgement, 
And fits them onely, that are nought but cerimony. 50 

Ang. Come, I will not fue, ftally to be your feruant, 
But a new tearme, will you be my refuge? 

Aur. Your refuge, why fir. 

Ange. That I might fly to you, when all elfe faile 
me. 

Aur. And you be good at flying, be my Plouer. 55 

Ang. Nay take away the P. 

Aur. Tut, then you cannot fly: 

Ang. He warrant you. He borrow Cupids wings. 

Aur. Maffe then I f eare me youle do ftrange things : 
I pray you blame me not, if I fufpect you, 60 

Your owne confeffion fimply doth detect you, 
Nay and you be fo great in Cupids bookes, 
T'will make me lealous : you can with your lookes 
(I warrant you) enflame a womans heart, 
And at your pleafure take loues golden dart, 65 

And wound the breft of any vertous maide. 
Would I were hence: good Faith I am affraid, 

48 fignior Francis,] signior, G 50 fit G 52 [Comes for- 

ward with Aur. G 63 lealous. D, Mi 64 I'll W 



Scene 5] The Cafe is Alterd 37 

You can conftraine one ere they be aware, 
To run mad for your loue? 
Ang. O this is rate. 



Scaene 6. [5.] 
Aurelio, Vhoenixella, Francifco, Angela, Count. 

COunt. Clofe with my daughters gentlemen? wel 
done, 
Tis hke your felues : nay lufty Angela, 
Let not my prefence make you bauke your fport, 
I will not breake a minute of difcourfe 
Twixt you and one of your faire Miftreffes. 5 

Ang. One of my miftreffes ? why thinks your Lord- 
fhip 
I haue fo many 

Count. Many? no Angela. 
I do not thinke th'aft many, fome fourteene 
I here thou haft, euen of our worthieft dames, 
Of any note, in Millaine: 10 

Ang. Nay good my Lord fourteene : it is not fo. 
Count. By'th the Maffe that ift, here are their names 
to fhew 
Fourteene, or fifteene t'one. Goad Angela. 
You need not be afhamd of any of them. 
They are gallants all. 

Ang. Sbloud you are fuch a Lord. 15 

Count. Nay ftay fweet Angela, I am difpofed 
A little to be pleafant paft my couftome, 

Exit Ang: 



69 rate.] rare! W, G Scaene . . . Count.] Enter count Fer- 

NEZE. G 12 By 'th the] By th' W By the G 



38 A pleafant Comedy, called [Act 2 

He's gone? he's gone, I haue dif graft him fhrewdly, 
Daughters take heede of him, he's a wild youth, 
Looke what he fayes to you beleeue him not, 20 

He will fweare loue to euery one he fees. 
Francifco, giue them councell, good Francifco, 
I dare truft thee with both, but him with neither, 
Fran. Your Lordfhip yet may truft both them with 
him. Exunt. 

Scaene 7. [6.] 

Count. Chriftopher, 

Count. Well goe your waies away, how now Chrif- 
topher, 
What newes with you? 

Chrift. I haue an humble fuit to your good Lordfhip. 

Count. A fuit Chriftopher f what fuit I prithee? 5 

Chrift. I would craue pardon at your Lordfhips 
hands, 
If it feeme vaine or fimple in your fight. 

Count. He pardon all fimplicity, Chriftopher, 
What is thy fuit? 

Chrift. Perhaps being now fo old a batcheler, 10 

I fhall feeme halfe vnwife, to bend my felfe 
In ftrict affection to a poore yong maide. 

Count. What? is it touching loue Chriftopher f 
Art thou difpoft to marry, why tis well. 

Chrifto. I, but your Lordfhip may imagine now 15 

That I being fteward of your honours houfe. 
If I be maried once, will more regard 
The maintenance of my wife and of my charge. 
Then the due difcharge of my place and office : 

Count. No, no, Chriftopher, I know thee honeft. 20 

Chrifto. Good faith my Lord, yout honour may 
fufpect it — but — 

Scsene . . . Chriftopher,] oni. G i away, [Exeunt AuR. Phcen. 
and Francisco. Enter Christophero. G i, 5, 8, 13, 20 Chris- 

tophero W, G 



Scene 6] The Cafe is Alterd 39 

Count. Then I fhould wrong thee, thou haft euer 
been 
Honeft and true, and will be ftill I knowe, 

Chrif. I but this marriage alters many men: 25 

And you may feare, it will do me my Lord, 
But ere it do fo? I will vndergoe 
Ten thoufand feuerall deaths. 

Count. I know it man. 
Who wouldft thou haue I prithee? 

Chrif. Rachel de prie, 
If your good Lordfhip, graunt me your confent. 30 

Count. 'Rachel de prie? what the poore beggers 
daughter ? 
Shees a right handfome maide, how poore foeuer, 
And thou haft my confent, with all my hart. 

Chrif. I humbly thanke your honour. He now afke 
her father. Exit. 35 

Count. Do fo Chriftofero thou fhalt do well. 
Tis ftrange (fhe being fo poore) he fhould affect her. 
But tliis is more ftrange that my felfe fhould loue her. 
I fpide her, lately, at her fathers doore, 
And if I did not fee in her fweet face 40 

Gentry and nobleneffe, nere truft me more : 
But this perfwafion, fancie wrought in me. 
That fancie being created with her lookes. 
For where loue is he thinke his bafeft obiect 
Gentle and noble : I am f arre in loue, 45 

And fhall be f orc'd to wrong my honeft fteward, 
For I muft fue, and feeke her for my felfe; 
How much my duetie to my late dead wife. 
And my owne deere renowne fo ere it fwaies. 
He to her father ftraight. Loue hates delays. Exit. 50 

30 Lordfhip B 



4© A pleafant Comedy, called [Act 2 

Scasne 8. [7.] 

Enter Onion, luniper, Valentine, Sebaftian, 
Balthafar, Martino. 

Onion. Come on I faith, lets to fome exercife or 
other my hearts : 
Fetch the hilts fellow luniper, wilt thou play : 

'Exit Martino. 

lun. I cannot refolue you ? tis as I am fitted with the 
ingenuity, quantity, or quality of the cudgell. 5 

Valen. How doft thou baftinado the poore cudgell 
with tearmes? 

luni. O Ingle, I haue the phrafes man, and the 
Anagrams and the Epitaphs, fitting the miftery of the 
noble fcience. 10 

Oni. He be hangd & he were not misbegotten of 
fome fencer. 

Sebaft. Sirrah Valentine, you can refolue me now, 
haue they their maifters of defence in other countries 
as we haue here in Italy f 15 

Yalen. O Lord, I, efpecially they in Vtopia, there 
they performe their prizes and chalenges, with as great 
cerimony as the Italian or any nation elfe. 

Bait Indeed? how is the manner of it (for gods 
loue) good Valeniinef 20 

luni. Ingle? I prithee make recourfe vnto vs, wee 
are thy friends and familiars : fweet Ingle. 

Yalen. Why thus fir. 

Oni. God a mercy good Valentine, nay go on. 

luni. Silentium bonus focius Onionus, good fellow 25 
Onion be not fo ingenious, and turbulent: fo fir? and 
how? how fweete Ingle? 

Yalen. Marry, firft they are brought to the publicke 
Theater: 

Scsene 7.] Scene IV. A Hall in the Same. Enter, etc. G 



Scene 7] The Cafe is Alterd 41 

luni. What? ha? they Theater there 30 

Valen. Theaters ? I and plaies to : both tragidy and 
comedy & fet foorth with as much ftate as can be 
imagined ? 

luni. By Gods fo; a man is nobody, till he has 
trauelled. 35 

Sebaft. And how are their plaies? as ours are? 
extemporall ? 

Valen. O no? all premeditated things, and fome of 
them very good I faith, my maifter vfed to vifite them 
often when he was there. 40 

Balth. Why how are they in a place where any man 
may fee them? 

Valen. I, in the common Theaters, I tell you. But 
the {port is at a new play to obferue the fway and 
variety of oppinion that paffeth it. A man fhall haue 45 
fuch a confus'd mixture of iudgement, powr'd out in 
the throng there, as ridiculous, as laughter itfelf e : one 
faies he likes not the writing, another likes not the plot, 
another not the playing. And fometimes a fellow that 
comes not there paft once in fiue yeare at a Parliament 50 
time or fo, will be as deepe myr'd in cenfuring as the 
beft, and fweare by Gods foote he would neuer ftirre 
his foote to fee a hundred fuch as that is. 

Oni. I muft trauell to fee thefe things, I fhall nere 
think well of my felfe elfe. 55 

lunip. Fellow Onion, He beare thy charges and 
thou wilt but pilgrimize it along with me, to the land 
of Vtopia. 

Sebaft. Why but me thinkes fuch rookes as thefe 
fhould be afham'd to iudge. 60 

Valen. Not a whit? the rankeft ftinkard of them all, 
will take vpon him as peremptory, as if he had writ 
himfelfe in artibus magifter. 

30 theatres W, G 



42 A pleafant Comedy, called [Act 2 

Sebaft. And do they ftand to a popular cenfure for 
any thing they prefent. 65 

Valen. I euer, euer, and the people generally are 
very acceptiue and apt to applaud any meritable worke, 
but there are two forts of perfons that moft commonly 
are infectious to a whole auditory. 

Balth. What be they? 70 

lunip. I come lets know them. 

Oni. It were good they were noted. 

Valen. Marry? one is tlie rude barbarous crue, a 
people that haue no braines, and yet grounded iudge- 
ments, thefe will hiffe any thing that mounts aboue 75 
their grounded capacities. But the other are worth 
the obferuation, I faith. 

Omnes. What be they ? what be they ? 

Valen. Faith a few Caprichious gallants. 

lunip. Caprichious f ftay, that word's for me. 80 

Valen. And they haue taken fuch a habit of diflike 
in all things, that they will approue nothing, be it neuer 
fo conceited or elaborate, but fit difperft, making faces, 
and fpitting, wagging their vpright eares and cry filthy, 
filthy. Simply vttering their owne condition, and vfing 85 
their wryed countenances in ftead of a vice, to turne 
the good afpects of all that fhall fit neere them, from 
what they behold. Enter Martino with cudgels. 

Oni. O that's well fayd, lay them downe, come firs. 
Who plaies, fellow luniper, Sehaftian, Balthafar: 90 

Some body take them vp, come. 

lunip. Ingle Valentine? 

Valen. Not I fir, I profeffe it not. 

lunip. Sehaftian. 

Sebaft. Balthafar. 95 

Balth. Who? I? 

Oni. Come, but one bout. He giue hem thee, I faith. 

78 What . . . what] Where . . . where W 



Scene 7] The Cafe is Alterd 43 

Balth. Why, heres Martino. 

Oni. Foe he, alas he cannot play a whit, man. 

lunip. That's all one : no more could you in ftata 100 
quo prills, Martino, play with him, euery man has his 
beginning and conduction. 

Mart. Will you not hurt me fellow Onion f 

Oni. Hurt thee, no? and I do, put me among pot- 
hearbs. And chop me to peeces, come on? 105 

lunip. By your fauor fweet bullies giue them 
roome, back, fo, Martino, do not looke fo thin vpon the 
matter. 

Oni. Ha, well plaid, fall ouer to my legge now? fo, 
to your guard againe, excellent, to my head now, make no 
home your blow : fpare not me, make it home, good, 
good againe. 

Sebaft: Why how now Peter? 

Yalen. Gods fo. Onion has caught a bruife. 

lunip. Couragio? be not caprichiousf what? ' 115 

Oni. Caprichiousf not I, I fcorn to be caprichious 
for a fcrach, Martino muft haue another bout, come : 

Va/. Seh. Balth. No, no, play no more, play no 
more. 

Oni. Foe, tis nothing, a philip, a deuife, fellow 120 
luniper prithee get me a Plantan, I had rather play 
with one that had skil by halfe. 

Mart. By my troth, fellow Onion, twas againft my 
will. 

Oni. Nay that's not fo, twas againft my head, 125 

But come, weele ha one bout more. 

lunip. Not a bout, not a ftroke. 

Omnes. No more, no more. 

99 Foe] Foh, W, G 100 statu W, G 108 [Mart, and 

Onion play a bout at cudgels. G 112 [Mart, breaks his head. G 

117 Martino muft] I must G 117 Come. B, D, Mi, M2 

118 Val. . . . Balth.] Jun. G 120 Foe,] Foh, W, G 
128 [Exit Martino. G 



44 A. pie a f ant Comedy, called [Act 3 

lunip. Why He giue you demonftration, how it 
came, Thou openeft the dagger to falfifie ouer with the 130 
back fword frick, and he interrupted, before he could 
fall to the clofe. 

Oni. No, no, I know beft how it was better the any 
man here, I felt his play prefently: for looke you, I 
gathered vpon him thus, thus do you fee? for the double 135 
locke, and tooke it fingle on the head. 

Yalen. He fayes very true, he tooke it fingle on the 
head. 

Sebaft. Come lets go. 

Enter Martino with a cob-web. 

Mar. Here fellow Onion, heres a cob-web. 140 

Oni. How ? a cob-web Martino, I will haue another 
bout with you? S'wounds do you firft breake my head, 
and then giue me a plaifter in fcorne? come to it, I will 
haue a bout. 

Mart. God's my witneffe. 145 

Oni. Tut! your witneffe cannot ferue. 

lunip. S'bloud? why what, thou are not lunatike, 
art thou ? and thou bee'ft auoide Mephoftophiles. Say 
the figne fhould be in Aries now : as it may be for all 
vs, where were your life? Anfwere me that? 150 

Sebaft. Hee fayes well. Onion. 

Yalen. I indeed doo's he. 

lunip. Come, come, you are a foolifh Naturalift, 
go, get a white a of an G:gge, and a little flax, and clofe 
the breach of the head, it is the moft conducible thing 155 
that can be. Martino, do not infinuate vpon your good 
fortune, but play an honeft part and beare away the 
bucklers. ¥.xeunt. 

130 openedst thy W open'dst the G 131 frick,] trick, IV, G 

148 Mephostophilus IV, G 152 I indeed] Indeed W, G 

154 a of] of W, G 



Scene 2] The Cafe is Alterd 45 

Act 3. Scsene i. 
Enter Angela folus. 

ANge. My yong and fimple friend, Paulo Ferneze, 
Bound me with mighty folemne coniurations, 
To be true to him, in his loue, to Rachel, 
And to foHcite his remembrance ftill, 

In his enforced abfence, much, I faith, 5 

True to my friend in cafes of affection? 
In womens cafes? what a ieft it is? 
How filly he is, that imagines it! 
He is an affe that will keepe promife ftricktly 
In any thing that checkes his priuate pleafure ; 10 

Chiefly in loue. S'bloud am not I a man? 
Haue I not eyes that are as free to looke? 
And bloud to be enflam'd as well as his? 
And when it is fo, fhall I not purfue 

Mine owne loues longings, but preferre my friends? 15 
I tis a good foole, do fo, hang me then, 
Becaufe I fwore, alas, who doo's not know, 
That louers periuries are ridiculous? 
Haue at thee Rachel: He go court her fure : 
For now I know her father is abroad. Y.nter laques. 20 
S'bloud fee, he is here, 6 what damn'd lucke is this? 
This labour's loft, I muft by no meanes fee him. 

tau, dery, dery, ¥.xit. 

Scsene 2. 
laques, Chriftophero. 

IAq. Mifchiefe and hell, what is this man a fpirit, 
Haunts he my houfes ghoft ? ftill at my doore ? 
He has beene at my doore, he has beene in, 
In my deere doore : pray God my gold be faf e. 

Act . . . folus.] Act III. Scene I. The Street before Jaques 
DE Prie's House. Enter Angelo. G 23 [Exit singing. G 

Scaene . . . Chriftophero.] om. G 



46 A pleafant Comedy, called [Act 3 

'Enter Chriftophero. 
Gods pitty, heres another. Rachel, ho Rachel. 5 

Chrif. God faue you honeft father. 

lag. Rachel, Gods Hght, come to me, Rachel, 
Rachel! JLxit. 

Chrif. Now in Gods name what ayles he? this is 
ftrange ! 
He loues his daughter fo, He lay my Hfe, 
That hee's afraid, hauing beene now abroad, 10 

I come to feeke her loue vnlawfully. 'Enter laques. 

lag. Tis faf e, tis faf e, they haue not rob'd my treafure. 

Chrif. Let it not feeme offenfiue to you fir. 

lag. Sir, Gods my Hfe, fir, fir, call me fir. 

Chrif. Good father here me. 

lag. You are moft welcome fir, 15 

I meant almoft; and would your worfhip fpeake? 
Would you abafe your felfe to fpeake to me? 

Chrif. Tis no abafing father: my intent 
Is to do further honour to you fir 
Then onely fpeake : which is to be your fonne. 20 

lag. My gold is in his noftrels, he has fmelt it, 
Breake breaft, breake heart, fall on the earth my 

entrailes. 
With this fame burfting admiration ! 
He knowes my gold, he knowes of all my treafure. 
How do you know fir? whereby do you gueffe? 25 

Chrif. At what fir ? what ift you meane ? 

lag. I aske, an't pleafe your Gentle worfhip, how 
you know? 

I meane, how I fhould make your worfhip know 
That I haue nothing — 30 

To giue with my poore daughter ? I haue nothing : 
The very aire, boimteous to euery man, 
Is fcant to me, fir. 

12, 14, 24 [Aside. G 18 abusing W 



Scene 3] The Cafe is Alterd 47 

Chrif. I do thinke good father, you are but poore, 

laq. He thinkes fo, harke, but thinke fo : 35 

He thinkes not fo, he knowes of all my treafure. Exit. 

Chrif. Poore man he is fo ouerioyed to heare 
His daughter may be paft his hopes beftowed. 
That betwixt feare and hope (if I meane f imply) 
He is thus paffionate. 'Enter laques. 40 

laq. Yet all is faf e within, is none without ? 
No body breake my walles ? 

Chrif. What fay you father, fhall I haue your 
daughter ? 

laq. I haue no dowry to beftow vpon her. 

Chrif. I do expect none, father. 

laq. That is well, 45 

Then I befeech your worfhip make no queftion 
Of that you wifh, tis too much fauour to me. 

Chrif. He leaue him now to giue his paffions breath, 
Which being fetled, I will fetch his daughter : 
I fhall but moue too much, to fpeake now to him. 50 

Exit Chriftophero. 

laq. So, hee's gone, would all were dead and gone, 
That I might Hue with my deere gold alone. 



Scsene 3. 
laques, Count. 

COunt. Here is the poore old man. 
laq. Out of my foule another, comes he hither ? 
Count. Be not difmaid old man, I come to 
cheere you. 
laq. To me by heauen, 
Turne ribs to braffe, turne voice into a trumpet, 5 

36 [Aside and exit. G Scsene . . . Count.] Enter count 

Ferneze. G 



48 A pleafant Comedy, called [Act 3 

To rattle out the battels of my thoughts, 
One comes to hold me talke, while th' other robbes me. 

Kxit. 
Count. He has forgot me fure: what fhould this 



meane 



He feares authority, and my want of wife 
Will take his daughter from him to defame her : 10 

He that hath naught on earth but one poore daughter, 
May take this extafie of care to keepe her. 

'Enter laques. 

laq. And yet tis faf e : they meane not to vfe force, 
But fawning comming. I fhall eafly know 
By his next queftion, if he thinke me rich, 15 

Whom fee I? my good Lord? 

Count. Stand vp good father, I call thee not father 
for thy age. 

But that I gladly wifh to be thy fonne, 
In honoured marriage with thy beauteous daughter. 20 

lag. O, fo, fo, fo, fo, fo, this is for gold, 
Now it is fure, this is my daughters neatneffe. 
Makes them beleeue me rich. No, my good Lord, 
He tell you all; how my poore hapleffe daughter 
Got that attire fhe weares from top to toe. 25 

Count. Why father, this is nothing. 

laq. O yes, good my Lord. 

Count. Indeed it is not. 

laq. Nay fweet Lord pardon me? do not diffemble, 
Heare your poore beadf-man fpeake ; tis requifite 30 

That I (fo huge a beggar) make account 
Of things that paffe my calling: fhe was borne 
T'enioy nothing vnderneath the fonne : 
But that, if fhe had more then other beggars 
She fhould be enuied : I will tell you then 35 

7 [Aside and exit. G 14 comming.] cunning. G 

IS [Aside. G 17 (second) father] good father W [good] 

father G 23 rich. [Aside.] G 



Scene 4] The Cafe is Alterd 49 

How fhe had all flie weares, her warme fhooes (God 

wot) 
A kind maide gaue her, feeing her go barefoot 
In a cold f rofty morning ; God requite her ; 
Her homely ftockings 

Count. Father, He heare no more, thou mou'ft too 
much 40 

With thy too curious anfwere for thy daughter, 
That doth deferue a thoufand times as much, 
He be thy Sonne in law, and fhe fhall weare 
Th'attire of Counteffes. 

laq. O good my Lord, 
Mock not the poore, remembers not your Lordfhip, 45 
That pouerty is the precious gift of God. 
As well as riches, tread vpon me, rather 
Then mocke my poorenes. 

Count. Rife I fay: 
When I mocke poorenes, then heauens make me poore. 50 

Enter Nuntius. 

Scsene 7. [4.] 
Nuncio, Count. 

NVn. See heres the Count Ferneze, I will tell him 
The hapleffe accident of his braue sonne. 
That hee may feeke the fooner to redeeme him. 

Exit laques. 
God faue your Lordfhip. 

Count. You are right welcome fir. 

Nun. I would I brought fuch newes as might 

deferue it. c 

Count. What, bring you me ill newes ? 

Nun. Tis ill my Lord, 

Yet fuch as vfuall chance of warre afifoords, 

47 [Kneels. G 50 heaven W, G 50 poore. . . . Count. 

[Exit Jaques. Enter a Messenger. G 



50 A pleafant Comedy, called [Act 3 

And for which all men are prepar'd that vfe it, 
And thofe that vfe it not, but in their friends, 
Or in their children. 

Count. Ill newes of my fonne? 10 

My deere and onely fonne. He lay my foule. 
Ay me accurs'd, thought of his death doth wound me. 
And the report of it will kill me quite. 

Nun. Tis not fo ill my Lord. 

Count. How then? 15 

Nun. Hee's taken prifoner, and that's all. 

Count. That's enough, enough, 
I fet my thoughts on loue, on feruile loue. 
Forget my vertuous wife, feele not the dangers. 
The bands and wounds of mine owne flefh and bloud, 20 
And therein am a mad man: therein plagu'd. 
With the moft iuft affliction vnder heauen. 
Is Maximilian taken prifoner to? 

Nun. My good my Lord, he is return'd with prif- 
oners. 

Count. Ift poffible, can Maximilian f 25 

Returne, and view my face without my fonne. 
For whom he fwore fuch care as for himfelfe? 

Nun. My Lord no care can change the euents of 
war. 

Count. O ! in what tempefts do my fortunes faile. 
Still wrackt with winds more foule and contrary, 30 

Then any northen gueft, or Southerne flawe? 
That euer yet inforc't the fea to gape. 
And fwallow the poore Marchants traffique vp? 
Firft in Vieenza, loft I my firft fonne ; 

Next here in Millaine my moft deere lou'd Lady : 35 

And now my Paulo, prifoner to the French, 
Which laft being printed with my other griefes, 
Doth make fo huge a volume, that my breft 

12 Ay] Ah W, G 24 My] No, W, G 31 gueft,] gust, W, G 



Scene 5] The Cafe is Alterd 51 

Cannot containe them. But this is my loue! 

I muft make loue to Rachel, heauen hath throwne, 40 

This vengeance on me moft deferuedly : 

Were it for nought but wronging of my fteward. 

Nun. My Lord fince onely mony may redreffe 
The worft of this miffortune, be not griued, 
Prepare his ranfome and your noble fonne 45 

Shall greete your cheered eyes, with the more honour. 

Count. I will prepare his ranfome : gratious heauen 
Grant his imprifonment may be his worft, 
Honored and fouldier-like imprifonment. 
And that he be not manacled and made 50 

A drudge to his proude foe. And here I vow, 
Neuer to dreame of feeme-les amorous toyes. 
Nor aime at other ioy on earth. 
But the fruition of my onely fonne. 'Exunt 



Scsene 5. 

Enter laques with his gold and a f cuttle full 
of horfe-dung. 

Iaq, He^s gone : I knew it ; this is our hot louer, 
I will beleeue them ! I ! they may come in 
Like fimple woers, and be arrant theeues, 
And I not know them ! tis not to be told, 
What feruile villanies, men will do for gold, 5 

O it began to haue a huge ftrong fmell. 
Which lying fo long together in a place ; 
He giue it vent, it fhall ha fhift inough, 
And if the diuell, that enuies all goodneffe, 

53 other] any other G Scaene 5.] Scene II. A Court-yard, 

at the back of Jaques' House. Enter, etc. (horfe- om.) G 
7 Which] With W, G 



52 A plea f ant Comedy, called [Act 4 

Haue told them of my gold, and where I kept it, 10 

He fet his burning nofe once more a worke. 

To fmell where I remou'd it, here it is: 

He hide and couer it with this horfe-dung: 

Who will fuppofe that fuch a precious neft 

Is crownd with fuch a dunghill excrement? 15 

In my deere life, fleepe fweetly my deere child. 

„Scarce lawfully begotten, but yet gotten, 

„And thats enough. Rot all hands that come neere thee 

Except mine owne. Burne out all eyes that fee thee. 

Except mine owne. All thoughts of thee be poyfon 20 

To their enamor'd harts, except mine owne, 

He take no leaue, fweet Prince great Emperour, 

But fee thee euery minute. King of Kings, 

He not be rude to thee, and turne my backe, 

In going from thee, but go backward out: 25 

With my face toward thee, with humble curtefies, 

None is within. None ouerlookes my wall. 

To haue gold, and to haue it fafe, is all. Y.xit. 



Actus 3. [4.] Scsene i. 

Knter Maximilian, with fouldiers Chamount, 
Camilla, Fernese, IPacue. 

Max. Lord Chamount and your valient friend there, 
I cannot fay welcome to Millaine: your thoughts and 
that word are not muficall, but I can fay you are come 
to Millaine: 

Fac. Mort diew. 5 

Cha. Gar foone. 

13 [Digs a hole in the ground. G Actus ... I.] Scene III. 

A Gallery in count Ferneze's House. Enter, etc. (Fernese orn.) G 
6 [Takes Pacue aside. G 



Scene i] The Cafe is Alter d 53 

Max. Gentlemen (I would cal an Emperour fo) 
you are now my prifoners, I am forry, marry this, fpit 
in the face of your fortunes, for your vfage fhall be 
honorable. 10 

Cam. Wee know it fignior Maximilian, 
The fame of al your actions founds nought elfe. 
But perfect honour from her fwelling cheeks. 

Max. It fhall do fo ftill I affure you, and I will giue 
you reafon, there is in this laft action (you know) a 15 
noble gentleman of our party, & a right valient; fem- 
blably prifoner to your general, as your honor'd felfe's 
to me, for whofe fafety, this tongue hath giuen warrant 
to his honorable father, the Count Ferneze. You 
conceiue me. Cam. I fignior. 20 

Max. Well? then I muft tell you .your ranfomes be 
to redeeme him, what thinke you? your anfwer. 

Cam. Marry with my Lords leaue here I fay fignior. 
This free & ample offer you haue made, 
Agrees well with your honour, but not ours : 25 

For I thinke not but Chamount is afwell borne 
As is Fernese, then if I miftake not, 
He fcornes to haue his worth fo vnderprifed. 
That it fhould neede an adiunct, in exchange, 
Of any equall fortune. Noble Signiort 30 

I am a fouldier, and I loue Chamount, 
Ere I would brufe his eftimation. 
With the leaft ruine of mine owne refpect. 
In this vild kind, thefe legs fhould rot with irons. 
This body pine in prifon, till the flefh 35 

Dropt from my bones in flakes, like withered leaues, 
In heart of Autumne, from a ftubborne Oke. 

Maxi. Mounfieur Gafper (I take it fo is your 
name) mifprife me not, I wil trample on the hart, on 
the foule of him that fhall fay, I will wrong you : what 40 

34 vild] vile JV, G 36 drop W 



54 A pie a f ant Comedy, called [Act 4 

I purpofe, you cannot now know; but you fhall know, 
and doubt not to your contentment. Lord Chamount, 
I will leaue you, whileft I go in and prefent my felfe 
to the honorable Count, till my regreffion fo pleafe you, 
your noble f eete may meafure this priuate, pleafant and 45 
moft princely walke, Souldiers regard them and refpect 
them. 

Pac. O Ver bon: excellenta gull, he tak'a my Lord 
Chamount for Mounfieur Gafpra, & Mounfieur 
Gafpra for my Lord Chamont, 6 dis be braue for make 50 
a me laugh'a, ha, ha, ha, 6 my heart tickla. 

Cam. I but your Lordfhip knowes not what hard 
fate 
Might haue purfued vs, therefore howfoere 
The changing of our names was neceffary 
And we muft now be carefuU to maintaine 55 

This error ftrongly, which our owne deuife, 
Hath thruft into their ignorant conceits, 
For fhould we (on the tafte of this good fortune) 
Appeare our felues, t'would both create in them 
A kinde of iealoufie, and perchaunce inuert 60 

Thofe honourable courfes they intend. 

Cha. True my deere Gafper: but this liangby here, 
Will (at one time or other) on my foule 
Difcouer vs: A fecret in his mouth 

Is like a wild bird put into a cage, 65 

Whofe doore no fooner opens, but tis out. 
But firra, if I may but know 
Thou vtterft it 

Pac. Vtteria? vat Mounfieur? 

Cha. That he is Gafper, and I true Chamount. 70 

Pac. O pardone may, fore my tongue fhall put out 
de fecreta, 
Shall breede de cankra in my mouth. 

Count. Speake not fo loud Pacue. 

47 [Exit. G 51 [Aside. G 74 Count.] Cam. W, G 



Scene 2] TJie Cafe is Alterd 55 

Fac. Foe, you fhall not lieare foole, for all your 75 
long eare, 

Reguard Mounfieur : you be de Chamont, Chamont be 
Gafpra. 

[Scaene 2.] 

Knter Count Fernese, Maximilian, France fco, Au- 
relia, Fhcenixella, Finio. 

Cha. Peace, here comes Maximilian. 

Cam. O belike that's the Count Fernese, that old 
man. 

Cha. Are thofe his daughters, trow? 

Cam. I fure, I thinke they are. , 5 

Cha. Fore God the taller is a gallant Lady. 

Caw. So are they both beleeue me. 

Max. True my honorable Lord, that Chamont was 
the father of this man. 

Count. O that may be, for when I loft my fonne, 10 
This was but yong it feemes. 

Fran. Faith had Camillo liued. 
He had beene much about his yeares, my Lord. 

Count. He had indeed, well, fpeake no more of him. 

Max. Signior perceiue you the errour? twas no 15 
good office in vs to ftretch the remembrance of fo deere 
a loffe. Count Ferneze, let fommer fit in your eye, 
looke cheerefully fweete Count, will you do me the 
honour to confine this noble fpirit within the circle of 
your armes? 20 

Count. Honor'd Chamont reach me your valiant 
hand, 
I could haue wifht fome happier accident, 
Had made the way vnto this mutuall knowledge. 
Which either of vs now muft take of other, 

75 Foe,] Foh! G 75 not] om. W 75 de fool, G 

77 de] om. G Scaene 2.] 0111. G 



56 A pleafant Comedy, called [Act 4 

But fure it is the pleafure of our fates, 25 

That we fhould thus be wrack't on Fortunes wheele, 
Let vs prepare with fteeled patience 
To tread on torment, and with mindes confirm'd 
Welcome the worft of enuy. 

Max. Noble Lord, tis thus, I haue here (in mine 30 
honour) fet this gentleman free, without ranfome, he 
is now himfelfe, his valour hath deferu'd it, in the eye 
of my iudgement. Mounfieur Gafper you are deere 
to me : fortuna non mutuat genus. But to the maine, 
if it may fquare with your Lordfhips liking, and his 35 
loue, I could defire that he were now inftantly imployed 
to your noble Generall in the exchange of Ferneze for 
your felfe, it is the bufineffe that requires the tender 
hand of a friend. 

Count. I, and it would be with more fpeed effected, 40 
If he would vndertake it. 

Max. True my Lord. Mounfieur Gafper, how 
ftand you affected to this motion? 

Cha. My duty muft attend his Lordfhips will. 

Max. What fayes the Lord Chamontf 45 

Cam. My will doth then apprroue what thefe haue 
vrg'd. 

Max. Why there is good harmony, good muficke 
in this : Mounfieur Gafper, you fhall protract no time, 
onely I will giue you a bowle of rich wine to the health 
of your Generall, another to the fucceffe of your 50 
iourney, and a third to the loue of my fword. Paffe. 
Exeunt all but Aurelia and Fhcenixella. 

Aure. Why how now fifter in a motley mufe? 
Go to, thers fomewhat in the wind, I fee. 
Faith this browne ftudy fuites not with your blacke, 
Your habit and your thoughts are of two colours. 55 

Vhcen. Good faith me thinkes that this young Lord 

25 fure] since G 35 and his] his W 38 is the] is a G 



Scene 3] The Cafe is Alterd 57 

Chamont fauours my mother, fifter, does he not? 

Aure. A mothelry conceite, 6 blind excufe, 
Blinder then loue himfelfe. Well fifter, well. 
Cupid hath tane his ftand in both your eyes. The cafe 60 
is alterd. 

Vhoen. And what of that? 

Aure. Nay nothing but a Saint. 
Another Bridget, one that for a face 
Would put downe Vefta, in whofe lookes doth fwim. 
The very fweeteft creame of modefty. 65 

You to turne tippet? fie, fie, will you giue 
A packing penny to Virginity. 
I thought youl'd dwell fo long in Cypres He, 
You'd worfhip Maddam Venus at the length; 
But come, the ftrongeft fall, and why not you? 70 

Nay, do not frowne. 

Phoen. Go, go, you foole. Adiew. Exit. 

Aure. Well I may left, or fo: but Cupid knowes 
My taking is as bad, or worfe then hers. 
O Mounfieur Gafperf if thou bee'ft a man. 
Be not affraid to court me, do but fpeake, 75 

Challenge thy right and weare it: for I fweare 
Till thou arriud'ft, nere came affection here. Exit. 

[Scaene 3.] 

Enter Pacue, Finio. 

Fin. Come on my fweet finicall Pacue, the very 
prime Of Pages, heres an excellent place for vs to 
practife in. No body fees vs here, come lets to it. 

Enter Onion. 

Pac. Contenta: Reguarde, vou le Preimer. 

58 motherly W, G 68 Cyprus W 71 adiew] ovi. W 

Scaene 3.] Act IV. Scene I. A Room in count Ferneze's House. 
Enter, etc. G 



58 A pleajant Comedy, called [Act 4 

Oni. Sirra Finiof 5 

Pac. Mort deiu le pefant. 

Oni. Didft thou fee Valentine f 

Finio. Valentine f no. 

Oni. No ? 

Fmi. No. Sirrah Onion, whither goeft? 10 

Oni. O I am vext, he that would truft any of thefe 
lying trauellers. 

Finio. I prithee ftay good Onion. 

Pac. Mounfieur Onion, vene ca, come hidera, le 
vou prey. By gar me ha fee two, tree, foure hundra 15 
towfand of your Coufan hang. Lend me your hand, 
fhall prey for know you bettra. 

Oni. I thanke you good fignior Farla vou? O that 
I were in an other world, in the \ngies, or fome where, 
that I might haue roome to laugh : 20 

Pac. A we fort boon : ftand ? you be deere now, me 
come. Boon iour Mounfieur. Vnder the arme. 

Fin. God morrow good fignior. 

Fac By gar, be mufh glad for fee you. 

Fin I returne you moft kind thanks fir. 25 

Oni. How? how? Sbloud this is rare? 

Fac. Nay, fhall make you fay rare by and by, 
Reguard Mounfieur Finio, The fhoulder 

Fin. Signior Fache. 

Fac. Dieu vou gard Mounfieur. 30 

Fin. God faue you fweet fignior. 

Pac. Mounfieur Onionf is not fort boon. 

Oni. Beane? quoth he, would I were in debt of a 
pottle of beanes I could do as much. 

Fin. Welcome fignior, whats next? 35 

Pac. O here. Void de grand admiration, as fhould 
meet perchance Mounfieur Finio. 

FiM. Mounfieur Facue' 

II thefe] thofe W 21 you be] you G 22 Vnder . . . arme.] 
om. G 24 me be G 28 The fhoulder] om. G 31 fignior Mi 



Scene 3] The Cafe is Alterd 59 

Vac. lefu ? by Gar who thinke wee fhall meete here ? 

Vin. By this hand I am not a Httle proud of it, fir 40 

Oni: This trick is onely for the the chamber, it can- 
not be cleanly done abroad. 

Vac. Well what fay you for dis den? Mounfieur. 

Fm. Nay pray, fir. 

Vac. Par ma foy vou bein encounters? 45 

Vin What doe you meane fir, let your gloue alone. 

Vac. Comen, fe porte la fante. 

Fm. Faith exceeding well fir. 

Vac, Trot, be mufh ioy for heire. 

Fm; And how ift with you fweet fignior Vac he. 50 

Vac. Fat comme vou voyer. 

Oni. Yong gentlemen? fpirits of bloud, if euer 
youle taft of a fweet peece of mutton, do Onion a good 
turne now. 

Pac. Que que, parla Mounfeir, what ift. 55 

Oni. Faith teach me one of thefe tricks. 

Pac. O me fhall doe prefently, ftand you deere, you 
fignior deere, my felfe is here: fo fort bein, now I 
parle to Mounfeir Onion, Onion pratla to you, you 
fpeaka to me, fo, and as you parle chang the bonet, 60 
Mounfeir Onion. 

Oni. Mounfeiur Finio. 

Fin. Mounfeur Vacue. 

Pac. Pray be couera. 

Oni. Nay I befeech you fir. 65 

Fm. What do you meane. 

Pac. Pardon moy, fhall be fo, 

Oni O God fir, 

Fm. Not I in good faith fir. 

Vac. By gar you muft. 70 

Oni: It fhall be yours. 

39 lefu?] om. G 41 for the W, G 42 cleverly W 

42 abroad, Mi 43 Mounfieur: Mi 45 vou] vous voila G 

49 hear heire. W 62-3 Oni. Monfieur Pacue. W 



6o A pleafant Comedy, called [Act 4 

Fm. Nay then you wrong me, 
Om. Well and euer I come to be great : 
Vac. You be big enough for de Onion already, 
Oni. I meane a great man. 75 

Fm. Then thou'dft be a monfter. 
Oni. Well God knowes not what fortune may doe, 
commaund me, vfe me from the foule to the crowne, 
and the crowne to the foule : meaning not onely from 
the crowne of the head, and the fole of the foot, but 80 
alfo the foote of the mind and the crownes of the 
purfe, I cannot ftay now yong gentlemen but — time 
was, time is, and time fhall be. "Exeunt. 



[Scasne 4.] 
Enter Chamount, Camillo. 

Cha. Sweet lafper I am forry we muft part, 
But ftrong neceffity enforceth it. 
Let not the time feeme long vnto my friend, 
Till my returne for by our loue I fweare 
(The f acred fpheare wherein our foules are knit) 5 

I will endeauour to effect this bufines 
With all induftrious care and happy fpeed. 

Cam. My Lord thefe circumftances would come well. 
To one leffe capable of your defert 

Then I : in whom your mirrit is confirmed 10 

With fuch authenticall and grounded proues. 

Cha. Well I will vfe no more. Gafper adiew. 

Cam. Farewell my honored Lord. 

Cha. Commend me to the Lady, my good Gafper: 

Cam. I had remembred that had not you vrgd it. 15 

Cha. Once more adiew fweet Gafper. 

Cam. My good Lord. Exit Camillo. 

Scaene 4.] Scene II. Another Room in the Same. Enter, etc. G 
I Gasper, G 



Scene 5] The Cafe is Alterd 61 

Cha. Thy vertues are more precious then thy name, 
Kind gentleman I would not fell diy loue, 
For all the earthly obiects that mine eyes, 
Haue euer tafted, fure thou art nobly borne, 20 

How euer fortune hath obfcurd thy birth : 
For natiue honour fparkles in thine eyes, 
How may I bleffe the time wherein Chamont 
My honored father did furprife vicenza, 
Where this my friend (knowen by no name) was 

found, 25 

Being- then a child and fcarce of power to fpeake. 
To whom my father gaue this name of Gafper, 
And as his owne refpected him to death. 
Since when wee two haue fhard our mutuall fortunes, 
Witli equall fpirits, and but deathes rude hand, 30 

No violence fhall diffolue this facred band. ^xit. 



[Scsene 5.] 
^nter luniper in his fhop finging: to him Onion. 

Oni. Fellow Iimiper, no more of thy fongs and 
fonets, fweet lumper, no more of thy hymnes and 
madrigals, thou fing'ft, but I figh. 

luni. Whats the matter Veter ha ? what in an Acad- 
emy ftill, ftill in fable, and coftly black array? ha? 5 

Oni. Prithee rife mount, mount fweet luniper, for 
I goe downe the wind, and yet I puffe: for I am vext. 

luni. Ha Bully? vext? what intoxicate? is thy 
braine in a quintefcence ? an Idea? a metamorphofis ? 
an Apology? ha rogue? come this loue feeds vpon thee, 10 
I fee by thy cheekes, and drinkes healthes of vermilion, 
teares I fee by thine eyes. 

31 this] the W Scaene . . . Onion.] Scene III. Juniper 

is discovered in his shop, singing. Enter Onion. G 5 black 

coftly JV 



62 A pleafant Comedy, called [Act 4 

Oni. I confeffe Cupids caroufe, he plaies fuper 
negulum with my liquor of life 

luni. Tut, thou art a goofe to be Cupids gull, go 15 
to, no more of this contemplations, & calculations, 
mourne not, for Kachels thine owne 

Oni. For that let the higher powers worke : but 
fweet luniper, I am not fad for her, and yet for her in 
a fecond perfon, or if not fo, yet in a third. 20 

luni. How fecond perfon? away, away, in the crot- 
chets already Longitude and Latitude? what fecond? 
what perfon? ha? 

Oni. luniper, He bewray my felfe before thee, for 
thy company is fweet vnto me, but I muft entreat thy 25 
helping hand in the cafe. 

luni. Tut? no more of this furquedry; I am thine 
owne? ad vngem vpfie freeze: pell mell, come, what 
cafe? what cafe? 

Oni. For the cafe it may be any mans cafe, afwell 30 
as mine, Kachel I meane, but He medle with her anon, 
in the meane time, Valentine is the man hath wrongd 
me. 

luni. How? my Ingle wrong thee, ift poffible? 

Oni. Your Ingle, hang him infidell, well and if I be 35 
not reuengd one him let Feter Onion (by the infernall 
Gods) be turned to a leeke or a fcalion, I fpake to him 
for a ditty for this handkerchier. 

luni. Why, has he not done it? 

Oni. Done it, not a verfe by this hand. 40 

luni. O in diebus illis, O prepofterous, wel come be 
blith, the beft inditer of the al is fomtimes dul, fellow 
Onion, pardon mine Ingle: he is a man, has impefec- 
tions and declinations, as other men haue, his maffe 
fomtimes cannot caruet nor prognifticat and come of, 45 

16 this] these G 17 not. Mi 20 not, yet fo W 

21 in thy G 43 Onion Mi 44 maffe] muse G 

45 curvet IV, G 



Scene 6] The Cafe is Alterd 63 

as it fhould, no matter, lie hammer our a paraphrafe 
for thee my felfe. 

Om*. No fweet luniper, no danger doth breed delay, 
loue makes me chollericke, I can beare no longer. 

luni. Not beare ? what my mad Meridian f laue ? not 50 
beare? what? 

Oni. Cupids burden : tis to heauy, to tollerable, and 
as for the handkerchire and the pofie: I will not 
trouble thee: but if thou wilt goe with me into her 
fathers backfide, old laques backfide, and fpeake for 55 
me to Rachel, I wil not be ingratitude, the old man is 
abroad and all. 

luni. Art thou fure on't. 

Oni. As fure as an obligation. 

luni. Lets away then, come we fpend time in a vaine 60 
circumference, trade I cafhire thee til to morrow, fellow 
Onion for thy fake I finifh this workiday. 

Oni. God a mercy, and for thy fake He at any time 
make a holiday. Exunt. 

[Scsene 6.] 
'Enter Angelio, Rachel. 

Ang. Nay I prithee Rachel, I come to comfort thee, 
Be not fo fad. 

Rach. O fignior Angelo, 
No comfort but his prefence can remoue. 
This fadneffe from my heart. 

Ang. Nay then y'are fond. 
And want that ftrength of iudgement and election, 5 

That fhould be attendent on your yeares and forme, 

46 para hrafe Mi 52 heauy B 56 will B 56-7 ould . . , all, B 
59 as an] an W 61 circumference B Scsene 6.] Scene IV. 

The Court-yard at the back of Jaques' House. Enter, etc. G 
Enter . . . Rachel, B i thee; D, M2 4 ye' are B 



64 A pleafant Comedy, called [Act 4 

Will you, becaufe your Lord is taken prifoner, 

Blubber and weepe and keepe a peeuifh ftirre, 

As though you would turne turtle with the newes, 

Come, come, be wife. Sblood fay your Lord fhould die : 10 

And you goe marre your face as you begin. 

What would you doe trow ? who would care for you ; 

But this it is, when nature will beftow 

Her gifts on fuch as know not how to vfe them. 

You fhall haue fome that had they but one quarter 15 

Of your faire beauty? they would make it fhew 

A little otherwife then you do this, 

Or they would fee the painter twice an hower. 

And I commend them I, that can vfe art, 

With fuch iudiciall practife. 

Rack. You talke iedly, 20 

If this be your beft comfort keepe it ftill. 
My fences cannot feede on fuch fower cates. 

Ang. And why fweet heart. 

Rack. Nay leaue good fignior. 

Ang. Come I haue fweeter vyands yet in ftore. 



[Scsene 7.] 
'Enter Onion and lumper. 

luni: I in any cafe miftres Rachel. 

Ang. 'Rachel? 

Rach. Gods pitty fignior Angelo, I here my father, 
away for Gods fake. 

Ang: S'bloud, I am betwixt, I thinke, this is twice 
now, I haue been ferued thus. Exit 

19 them IB 20 practife, B 23 leaue] leau' B 

Scsene . . . luniper.] om. G i Jun. [within.] G 

I I] om. W 5 bewitch'd W, G 



Scene 7] The Cafe is Alter d 65 

Kach. Pray God he meet him not. 'Exit Rechel. 

Oni. O braue ? fhe's yonder, O terrible fhee's gone. 

luni. Yea? fo nimble in your Dilemma' Sj and your 
Hiperbole' s Hay my loue ? O my loue, at the firft fight : 10 
By the maffe. 

Oni. O how fhe fkudded, O fweet feud, how fhe 
tripped, O delicate trip and goe. 

luni. Come thou art enamored with the influence 
of her profundity, but firrah harke a little. 15 

Oni. O rare, what? what? paffing I faith, what ift? 
what ift? 

luni. What wilt thou fay now, if 'Rachel ftand now, 
and play hity tity through the keyhole, to behold the 
equipage of thy per f on : 20 

Oni: O fweet equipage, try good Juniper, tickle her, 
talke, talke, O? rare 

luni. Miftris Rachel (watch then if her father 
come) Rachel f Madonaf Rachel f No. 

Oni. Say I am here. Onion or Peter or fo. 25 

luni. No, He knock, weele not ftand vpon Horizons, 
and tricks, but fall roundly to the matter. 

Oni. Well faid fweet luniper: Horizons? hang 
hem? knock, knock. 

Rach. Whofe there? father. 30 

luni. Father no? and yet a father, if you pleafe to 
be a mother. 

Oni. Well faid luniper, to her againe, a fmack or 
two more of the mother 

luni. Do you here? fweet foule, fweet radamant? 35 
fweet mathauell one word Melpominef are you at 
leafure. 

Rach. At leafure? what to doe? 

7 not.] Enter Onion and Juniper. G 24 come) [Goes to the 

door.'\ G 29 [Juniper knocks. G 30 Rach. [within.] G 

31 you'll W 36 Machavel? G 38 Rach. [within.] G 



66 A plea f ant Comedy, called [Act 4 

Jmii. To doe what, to doe nothing, but to be Hable 
to the extafie of true loues exigent, or fo, you fmell 40 
my meaning. 

Oni. Smell, filthy, fellow luniper filthy? fmell? O 
moft odious. 

luni. How filthy. 

Oni. Filthy, by this finger ? fmell ? fmell a rat, fmel 45 
a pudding, away thefe tricks are for truls, a plaine 
wench loues plaine dealing, ile vpon my felfe, fmel to 
march paine wench. 

Itmi. With all my heart, Ile be legitimate and filent 
as an apple-fquire, lie fee nothing, and fay nothing. 50 

Oni. Sweet hart, fweet hart ? 

luni. And bag pudding, ha, ha, ha? 

lag. What Rachel my girle what Rachel; Within 

Oni. Gods lid : 

lag. What Rachel, | ^.^^ .^ 55 

Rack. Here I am j 

Oni What rakehell cals Rachel: O treafon to my 
loue. 

luni. Its her father on my life, how fhall wee 
entrench and edifie our felues from him? 60 

Oni. O conni-catching Cupid. 'Enter laques. 

lag. How in my back fide ? where ? what come they 
for? Onion gets vp into a tree. 

Where are they? Rachel? theeues, theeues? 
Stay villaine flaue: Rachel f vntye my dog: 
Nay theife thou canft not fcape. 

Inni. 1 pray you fir. 65 

Oni A pitifull Onion, that tliou hadft a rope. 

lag. Why Rachel: when I fay: let loofe my dog? 
garlique my maftiue, let him loofe I fay. 



47 upon her W, G 47-8 to a G 64 flaue : [Sei::es Jun. as 

he is running out.] G 66, 70, 84, 93 Oni. [above.] G 66 A] 

Ah W, G 



Scene 7] The Cafe is Alterd 67 

limi. For Gods fake here me fpeake, keepe vp your 
cur. 

Oni. I feare not garlique, heele not bite Onion his 70 
kinfman pray God he come out, and then theile not 
fmell me. 

laq. well then deliuer, come deliuer flaue? 

luni. What fhould I deliuer? 

lag. O thou wouldft haue me tell thee? wouldft 75 
thou fhew me thy hands, what haft thou in thy hands ? 

luni. Here be my hands. 

laq. Stay are not thy fingers ends begrimd with 
durt, no thou haft wipt them. 
' luni. Wipt them ? 80 

laq. I thou villaine? thou art a fubtile knaue, put 
off thy fhewes, come I will fee them, giue me a knife 
here Rachel, He rip the foles. 

Oni. No matter he's a cobler, he can mend them. 

luni. What are you mad ? are you detef table, would 85 
you make an Anatomy of me, thinke you I am not true 
Ortographie ? 

laq. Ortographie, Anatomy? 

luni. For Gods fake be not fo inuiolable, I am no 
ambufcado, what predicament call you this, why do you 90 
intimate fo much. 

laq. I can feele nothing. 

Oni. Bir Lady but Onion feeles fomething. 

laq. Soft fir, you are not yet gon, fhake your legs, 
come, and your armes, be briefe, ftay let me fee thefe 95 
drums, thefe kilderkins, thefe bombard flops, what is 
it crams hem fo. 

luni. Nothing but haire. 

laq. Thats true, I had almoft forgot this rug, this 
hedghogs neft, this haymowe, this beares fkin, this 100 
heath, this firfbufh. 

71 kinfman, B, D, M2 78 are not] are W, G 79 dur,t no B 
94 not] no W 97 crams] charms W loi firfbufh; B 

loi [Pulls him by the hair. G 



68 A pleafant Comedy, called [Act 4 

luni. O let me goe, you teare my haire, you reluolue 
my braines and vnderftanding. 

laq. Heart, thou art fomewhat eas'd? halfe of my 
feare 
Hath tane his leaue of my, the other halfe 105 

Still keepes poffeffion in dilpight of hope, 
Vntill tliefe amorous eyes, court my faire gold: 
Deare I come to thee : friend, why art not gone ? 
Auoid my foules vexation, Sathan hence ? 
Why doeft thou ftare on me, why doeft thou ftay? no 

Why por'ft thou on the ground with theeuifh eyes? 
What fee' ft thou there, thou curre ? what gap'ft thou at ? 
Hence from my houfe, Rachel, fend garlick forth. 

lunip. I am gone fir, I am gone, for Gods fake 
ftay. Exit luniper. 115 

laq. Pack, and thanke God thou fcap'ft fo well 
away. 

Oni. If I fcape this tree, deftinies, I defie you. 

laq. I cannot fee by any Characters 
Writ on this earth, that any fellon foote 
Hatli tane acquaintance of this hallowed ground. 120 

None fees me : knees do homage to your Lord. 
Tis fafe, tis fafe, it lyes and fleepes fo foundly, 
Twould do one good to looke on't. If this bliffe 
Be giuen to any man that hath much gold, 
luftly to fay tis fafe, I fay tis fafe. 125 

O what a heauenly round thefe two words dance 
Within me and without me: Firft I thinke hem. 
And then I fpeake hem, then I watch their found, 
And drinke it greedily with both mine eares, 
Then thinke, then fpeake, then drinke their found 

againe, 130 

102 teare, B 102 haire B 102 reloulue B revolve W, G 

105 my] me JV, G 108 thee: [Aside.] G 108 Fiend, G 

117, 134 Oni. [above.] G 120 ground, B 121 [Kneels down 

and removes the dung from his treasure. G 129 eares,] eyes : W 



Scene 7] The Cafe is Alterd 69 

And racket round about this bodies court. 
Thefe two fweet words : tis fafe: ftay I will feed 
My other fences, 6 how fweet it fmels : 

Oni. I mar'le he fmels not Onion, being fo neere it. 

lag. Downe to thy graue againe, thou beauteous 
Ghoft, 135 

Angels men fay, are fpirits: Spirits be 
Inuifible, bright angels are you fo? 
Be you inuifible to euery eye, 

Saue onely thefe : Sleepe, He not breake your reft, 
Though you breake mine : Deare Saints adiew, adiew : 140 
My feete part from you, but my foule dwels with you. 

Exit. 

Oni. Is he gone? 6 Fortune my friend, & not for- 
tune my foe, 

I come downe to embrace thee, and kiffe thy great 
toe. Knter luniper. 145 

lunip. Fellow Onion f Veter. 

Oni. Fellow luniper. 
What's the old panurgo gone? departed, cofmografied, 
ha? 

Oni. O I, and harke Sirrah. (Shall I tell him? no. 150 

lunip. Nay, be briefe and declare, ftand not vpon 
conodrums now, thou knoweft what contagious fpeeches 
I haue fufferd for thy fake and he fhould come againe 
and inuent me here, 

Oni. He faies true, it was for my fake, I will tell 155 
him. Sirra luniper? and yet I will not. 

lunip. What fayeft thou fweete Onion? 

Oni. And thou hadft fmelt the fent of me when I 
was in the tree, thou wouldeft not haue faid fo: but 
Sirra, The cafe is alterd with me, my heart has giuen 160 
loue a box of the eare, made him kicke vp the heeles I 
faith. 

133 fences ; B, D, [Takes up some of the gold and smells to it.] G 
133 fmels. Mi, M2 141 [Rises and exit. G 145 [Comes down 
from the tree. G 148 Juni. What's, etc. W, G 161 his heels, W 



70 A pleafant Comedy, called [Act 4 

lunip. Sayeft thou me fo, mad Greeke? how haps 
it? how chances it. 

Oni. I cannot hold it, lumper, haue an eye, looke, 165 
haue an eye to the doore, the old prouerb's true, I fee : 
gold is but mucke. Nay Gods fo lunip er to the doore, 
an eye to the maine chance, here you flaue, haue an eye. 

lunip. O inexorable ! 6 infallible ! 6 infricate deuine, 
and fuperficiall fortune. 170 

Oni. Nay, it will be fufificient anon, here, looke 
heere. 

lunip. O infolent good lucke! How didft thou 
produce th' intelligence of the gold' mynerals. 

Oni. He tell you that anon, heere, make fhift, 175 
conuey, cramme. 

He teach you how you fhall call for garlike againe I 
faith. 

lunip. S'bloud what fhall we do with all this? we 
fhall nere bring it to a confumption. 180 

Oni. Confumption? why weele bee moft fumptu- 
oufly attir'd, man. 

lunip. By this gold, T will haue three or foure moft 
ftigmaticall fuites prefently. 

Oni. He go in my foot-cloth. He turne Gentleman. 185 

lunip. So will I. 

Oni. But what badge fhall we giue, what cuUifon? 

lunip. As for that lets vfe the infidelity and com- 
miferation of fome harrot of armes, he fhall giue vs a 
gudgeon. 190 

Oni. A gudgeon ? a fcutheon thou wouldft fay, man. 

lunip. A fcutcheon or a gudgeon, all is one. 

Oni. Well, our armes be good inough, lets looke to 
our legges. 

lunip. Content, weele be logging. 195 

Oni. Rachel f we retire : garlike God boy ye. 

168 chance, [Removes the dung, and shews him the gold.] G 
175 you] thee W 191 gudgeon?] gupgeon? B 

196 Godb'ye W good b'ye G 



Scene 8] The Cafe is Alterd 71 

lunip. Farewell fweete laques. 

Oni. Farewell fweete Rachel, fweet dogge adiew. 

Rxeunt. 



[Scsene 8.] 

Fnter Maximilian, Count Fernese, Aurelia, Fhce- 
nixella, Fache. 

Max. Nay but fweet Count. 

Count. Away, He heare no more, 
Neuer was man fo palpably abufd, 
My fonne fo bafely mar ted ; and my felf e 
Am made the fubiect of your mirth and fcorne. 

Max. Count Fernese you tread to hard vpon my 5 
patience, 
Do not perfift I aduife your Lordfhip. 

Count. I will perfift, and vnto thee I fpeake. 
Thou Maximilian thou haft iniur'd me. 

yiax. Before the Lord: 

Aur. Sweet fignior. 

Phoe. O my father. lO 

Max. Lady let your father thank your beauty. 

Fac. By gar me fhall be hang for tella dis fame, 
Me tella madamoyfelle, fhe tell her fadera. 

Count. The true Chamount fet free, and one left 
here 
Of no defcent, clad barely in his name. 15 

Sirrah boy come hither, and be fure, you fpeake the 
f imple truth : 

Fac. O pardone moy mounfieur. 

Count Come leaue your pardons, and directly fay. 
What villaine is the fame that hath vfurpt, 20 

The honor'd name and perfon of Chamount : 

Scsene 8.] Scene V. A Room in count Ferneze's House. Enter, 
etc. G 16 fpaeke B 19 fay, B 



72 A plcafant Comedy, called [Act 4 

Pac. O Mounfieur, no point villaine, braue Cheual- 
ier, Mounfieur Gafper. 

Count. Monufieur Gafper, on what occafion did 
they change their names, what was their poHcy, or their 25 
pretext. 

Fac. Me canno tell, par ma foy Mounfieur. 

Max. My honorable Lord. 

Count. Tut tut, be filent. 

Max. Silent? Count Verneze, I tell thee if Amurath 
the great Turke were here I would fpeake, and he 30 
fliould here me. 

Count. So will not I. 

Max: By my fathers hand, but thou fhalt Count, I 
fay till this inftant, I was neuer toucht in my reputa- 
tion : here me you fhall knowe that you haue wrongd 35 
me, and I wil make you acknowledge it, if I cannot 
my fword fhall. 

Count. By heauen I will not, I will ftop mine eares, 
My fences loath the Sauiour of thy breath, 
Tis poyfon to me, I fay I will not heare. 40 

What fhall I know, tis you haue iniurd me, 
What will you make ? make me acknowledge it. 
Fetch forth that Gafper, that lewd counterfeit. 

'E.nter feruing with Camillo. 
He make him to your face approue your wrongs. 
Come on falfe fubftance, fhadow to Chamont: 45 

Had you none elfe to worke vpon but me, 
Was I your fitteft proiect? well confeffe, 
What you intended by this fecret plot. 
And by whofe policy it was contriu'd, 
Speake truth, and be intreated courteoufly, 50 

But double with me, and refolue to proue 

27 ccanno B 28 Lord, B 39 loath] lotah B 

Enter . . . Camilla.] Enter Servants with Camillo. G 
45 fubftance : B 45 Chamont, B 



Scene 8] The Cafe is Alter d 73 

The extremeft rigor that I can inflict. 

Cam. My honor'd Lord, heare me with patience, 
Nor hope of fauour, nor the feare of torment, 
Shall fway my tongue, from vttring of a truth. 55 

Count. Tis well, proceed then. 

Cam. The morne before this battell did begin, 
Wherein my Lord Chamount and I were tane. 
We vow'd one mutuall fortune, good or bad, 
That day fhould be imbraced of vs both, 6o 

And vrging that might worft fucceede our vow, 
We there concluded to exchange our names. 

Count. Then Maximilian tooke you for Chamount. 

Cam. True noble Lord. 

Count: Tis falfe, ignoble wretch, 
Twas but a complot to betray my fonne. 65 

Max. Count, thou lyeft in thy bofome. Count: 

Count: Lye ? 

Cam. Nay I befeech you honor'd gentlemen. 
Let not the vntimely ruine of your loue. 
Follow thefe Height occurents ; be affured 70 

Chamounts returne will heale thefe wounds againe, 
And breake the points of your too piercing thoughts. 

Count. Returne? I when? when will Chamount 
returne ? 
Heele come to fetch you, will he? I tis like, 
Youl'd haue me thinke fo, that's your policy. 75 

No, no, yong gallant, your deuice is ftale. 
You cannot feed me with fo vaine a hope. 

Cam. My Lord, I f eede you not with a vaine hope, 
I know affuredly he will returne. 
And bring your noble fonne along with him. 80 

Max. I, I dare pawne my foule he will returne. 

Count. O impudent dirifion? open fcorne? 
Intollerable wrong ? is't not inough ? 

55 of truth. W, G 61 worse W, G 



74 A pleafant Comedy, called [Act 5 

That you haue plaid vpon me all this while ; 

But ftill to mocke me, ftill to ieft at me? 85 

Fellowes, away with him, thou ill-bred flaue. 

That fets no difference twixt a noble fpirit, 

And thy owne flauifh humour, do not thinke 

But ile take worthy vengeance on thee, wretch? 

Cam. Alas, thefe threats are idle, like the wind, 90 
And breed no terror in a guiltleffe mind. 

Count. Nay, thou fhalt want no torture, fo refolue, 
bring him away. 

Cam. Welcome the worft, I fuffer for a friend, 
Your tortures will, my loue fliall neuer end. Exeunt. 95 
Manent Maximillian, Aurelia, Phoenixella, Pacue. 

Phcen. Alas poore gentleman, my fathers rage 
Is too extreame, too fterne and violent! 
O that I knew with all my ftrongeft powers. 
How to remoue it from thy patient breaft. 
But that I cannot, yet my willing heart, 100 

Shall minifter in fpight of tyranny 
To thy miffortune, fomething there is in him. 
That doth enforce this ftrange affection, 
With more then common rapture in my breaft: 
For being but Gafper, he is ftill as deare 105 

To me, as when he did Chamount appeare. 

Exit Phamixella. 

Aure. But in good fadneffe Signior, do you thinke 
Chamount will returne? 

Max. Do I fee your face, Lady? 

Aure. I fure, if loue haue not blinded you. no 

Max. That is a queftion, but I will affure you no, I 
can fee, and yet loue is in mine eye: well, the Count 

91 in the W 93 [Exit. G 95 {Exeunt Servants with 

Camillo and Pacue. G Manent . . . Pacue.] oin. G 

103 this] the W 106 [Aside and exit. G 108 will e'er W 

no haue] has W 



Scene i] The Cafe is Alter d 75 

your father fimply hath diflionor'd me : and this fteele 

fhall engraue it on his burgonet. 

Aure. Nay, fweet Signior, 115 

Max. Lady, I do preferre my reputation to my hfe. 

But you fhall rule me, come lets march. 

Exit Maximillian. 
Aure. He follow Signior, 6 fweet Oueene of loue ! 

Soueraigne of all my thoughts, and thou faire fortune, 

Who (more to honour my affections) 120 

Haft thus tranflated Gafper to Chamount. 

Let both your flames now burne in one bright fpeare ; 

And giue true light to my afpiring hopes, 

Haften Chamounts returne, let him affect me. 

Though father, friends, and all the world reiect me. 125 

'Exit. 

[Act 5. Scsene i.] 

Knter Angela, Chriftopher. 

Ange. Sigh for a woman, would I f ould mine armes, 
Raue in my fleepe, talke idly being awake. 
Pine and looke pale, make loue-walkes in the night, 
To fteale cold comfort from a day-ftarres eyes. 
Kit, thou art a foole, wilt thou be wife? then lad 5 

Renounce this boy-gods nice idolatry. 
Stand not on complement, and wooing trickes. 
Thou loueft old laques daughter, doeft thou? 

Chrif. Loue her? 

Ange. Come, come, I know't, be rul'd and fhees " 
thine owne, 
Thou't fay her father laques, the old begger, lO 

Hath pawnd his word to thee, that none but thou, 
Shalt be his fonne in law. 

Chrif. He has. 

122 sphere, W, G Act V. Scene I. The Court at the back 

of Jaques' House. Enter, etc. G 7 wooing] coying G 



76 A pleafant Comedy, called [Act 5 

Knge. He has ? wilt thou beleeue him, and be made 
a kooke, 15 

To waite on fuch an antique wethercocke; 
Why he is more inconftant then the fea, 
His thoughts, Cameleon-Wke, change euery minute: 
No Kit, worke foundly, fteale the wench away, 
Wed her, and bed her, and when that is done, 20 

Then fay to laques, fhall I be your fonne? 
But come to our deuife, where is this gold? 

Chrif. Heere Signior Angela. 

Ange. Beftow it, bid thy hands fhed golden drops, 
Let thefe bald french crownes be vncouered, 25 

In open fight, to do obeyfance 
To laques ftaring eyes when he fteps forth. 
The needy beggar will be glad of gold. 
So, now keepe thou aloof e, and as he treades 
This guilded path, ftretch out his ambling hopes, 30 

With fcattring more & more, & as thou go'ft, cry 
laques, laques 

Chrif. Tufh, let me alone. 

Ang. Firft ile play the ghoft. He cal him out, Kit 
keep aloofe. 35 

Chrif. But Signior Angela. Where wil your felfe 
and 'Rachel ftay for me, after the left is ended? 

Ange. Maffe, that's true, at the old Priory behinde 
S. Fayes. 

Chrif. Agreed, no better place, ile meete you there. 40 

Ange. Do good f oole, do, but ile not meet you there. 
Now to this geere, laques, laques, what laques? 
{within} lag. Who cals ? whofe there ? Ange. laques. 
\ within \ laq. Who cals ? 

Ange. Steward, he comes, he comes laques. 45 

IS kooke,] cokes, G cook, W 17 Why] While W 

27 fteps] fets W 29 thou] them W 34 But first W, G 

40 [Retires, dropping the gold. G 41 Do . . . there.] om. W 

45 [Retires. G 



Scene i] The Cafe is Alterd 77 

'E.nter laques. 

laq. What voice is this? no body here, was I not 
cald? I was. 

And one cride laques with a hollow voyce, 
I was deceiu'd, no I was not deceiu'd, 

See fee, it was an Angell cald me forth, 50 

Gold, gold, man-making gold, another ftarre, 
Drop they from heauen, no, no, my houfe I hope 
Is haunted with a Fairy. My deere Lar, 
My houfhold God, My Fairy on my knees. 

Chrift. laques. Kxit Chriftophero. 55 

laq. My Lar doth call me, 6 fweet voyce, 
Muficall as the fpheares, fee, fee, more gold. 
I within I Chrif. laques. Enter Rachel. 

laq. What Rachel, Rachel, lock my doore, looke to 
my houfe. 60 

{ within }• Chrif. laques. 

laq. Shut faft my doore, a golden crowne, laques 
fhall be a king. Exit. 

Ange. To a fooles paradice that path will bring 
Thee and thy houfhold Lar. 65 

Rach. What means my father, I wonder what 
ftrange humor. 

Ange. Come fweete foule, leaue wondring, ftart not, 
twas I laid this plot to get thy father forth. 

Rach. O Angela. 70 

Ange. O me no oo's, but heare, my Lord your loue, 
Paulo Ferneze is returnd from warre. 
Lingers at Vont Valeria, and from thence 
By poft at midnight laft, I was coniur'd 
To man you thither, ftand not on replies, 75 

A horfe is fadled for you, will you go. 
And I am for you, if you will ftay, why fo. 

49 [Sees the gold. G 55 Chris, [within.l G 

63 [Exit, following the sound, and picking up the gold. G 

64 Ang. [Comes forward. 'I G 69 thy] your W 



78 A pleafant Comedy, called [Act 5 

"Rach. O Angela, each minute is a day till my 
Ferneze come, come weele away fir. 

Ange. Sweet foule I gueffe thy meaning by thy 
lookes, 80 

At pont Valeria thou thy loue fhalt fee, 
But not Ferneze, Steward fare you well. 
You wait for Kachel to, when can you tell ? 

Exeunt. 'Enter laq. 

laq. O in what golden circle haue I dan'ft? 
Millaine thefe od'rous and enfloured fields 85 

Are none of thine, no heres Elizium, 
Heere bleffed ghofts do walke, this is the Court 
And glorious palace where the God of gold 
Shines like the fonne, of fparkling maiefty ; 

faire fethered, my red-brefted birds, 90 
Come flye with me, ile bring you to a quier, 

Whofe confort being fweetned with your found : 
The mufique will be fuller, and each hower 
Thefe eares fhall banquet with your harmony 6, 6, 6, 

Enter Chrift. 

[Scsene 2.] 

Chrif. At the old priorie, behind Saint Foyes, 
That was the place of our appointment fure : 

1 hope he will not make me loofe my gold. 

And mock me to, perhaps they are within : lie knock. 
laq. O God, the cafe is alterd. 5 

Chrift. 'Rachel? Angela? Signior Angela? 
laq. Angels? I where? mine Angels? wher's my 
gold? 

Why Rachel? O thou theeuifh Canibal, 

Thou eateft my flefh in ftealing of my gold. 

79 fir.] om. G 79 [Exit. G 83 Exeunt. {Exit hastily. G 

83 Enter /eg.] Re-enter Jaques with his hands full of money. G 
go 0]0 my W 0[my] G 94 The ears W, G 94 [Exit. G 

5 Jaq. [within.'] G 6 Re-enter Jaques. G 



Scene 3] The Cafe is Alter d 79 

Chrif. What gold ? 

lag. What gold? Rachel call help, come forth, 10 
He rip thine entrailes, btit ile haue my gold : 
Rachel why comes thou not ? I am vndone, 
Ay me fhe fpeakes not, thou haft flaine my child. 'Exit 

Chrif. What is the man poffeft trow ? this is ftrange, 
Rachel I fee is gone with Angela: 15 

Well ile once againe vnto the priory. 
And fee if I can meete them. Exit Chriftopher, 

lag. Tis too true, Enter lagues. 

Th'aft made away my child, how haft my gold : 

what Hienna cald me out of dores. 

The theife is gone: my gold's gone, Rachels gone, 20 

Al's gone? faue I that fpend my cries in vaine. 

But ile hence too, and die or end this paine. Exit. 

[Scsene 3.] 

Enter luniper. Onion, Finio, Valentine. 

luni. Swonds, let me goe, hay catfo, catch him aliue, 

1 call, I call, boy. I come, I come fweetheart: 

Oni. Page hold my rapier, while I hold my freind 
here. 

Valen. O heer's a fweet metamorphofis, a cupple of 5 
buzzards turn'd to a paire of peacocks. 

luni. Signior Onion, lend me thy boy to vnhang my 
rapier : 

On. Signior luniper for once or fo, but troth is, 
you muft inueigle, as I haue done, my Lords page here 10 
a poor folower of mine. 

luni. Hei ho, your page then fha'not be fuper inten- 
dent vpon me? he fhall not be addicted? he fhall not 

16 into W 18 how] thou W, G Scaene . . . Valentine.] 

Scene II. The Street before count Ferneze's House. Enter 
Juniper and Onion richly dressed, and drunk, followed by Finio 
and Valentine. G 12 cannot W 



8o A pleafant Comedy, called [Act 5 

be incident? he fhall not be incident? he fhall not be 
incident, fhall he? He foynes 15 

Fin. O fweet fignior lumper. 

luni. Sbloud ftand away princocks ? do not aggrau- 
ate my ioy. 

Valen. Nay good Maifter. Onion. 

Oni. Nay and he haue the heart to draw my bloud, 20 
let him come. 

luni. He flice you Onion, He flice you? 

Oni. He cleaue you luniper. 

Valen. Why hold, hold, hough ? what do you meane ? 

luni. Let him come Ingle, ftand by boy, his alle- 25 
bafter blad cannot feare me. 

Fin. Why heare you fweet fignior, let not there be 
any contetion, betweene my Maifter & you, about me, 
if you want a page fir, I can helpe you to a proper 
ftripling. 30 

luni. Canft thou? what parentage? what anceftry? 
what genealogy is he? 

Fin. A french boy fir. 

luni. Has he his French linguift ? has he ? Fin. I, 

fir. 35 

luni. Then transport him : her's a crufado for thee. 

Oni. You will not, imbecell my feruant with your 
beneuolence will you, hold boy their's a portmantu for 
thee. 

Fin. Lord fir. 40 

On. Do take it boy, its three pounds ten fhill. a 
portmantu. 

Fin. I thanke your Lordfhip. Exit Finio. 

luni. Sirrah Ningle: thou art a traueller, and I 
honour thee. 45 

I prithee difcourfe? cherifh thy mufe? difcourfe? 

Valen. Of what fir? 

IS [He joins with his rapier. G 



Scene 3] The Cafe is Alterd 81 

luni. Of what thou wilt. Sbloud? hang forrow? 

Oni. Prithy Valentine affoile me one thing. 

Valen. Tis pitty to foile you fir, your new apparell. 50 

On. Maffe thou faift true, aparel makes a man 
forget himfelf. 

lun. Begin, find your tongue N ingle. 

Val. Now will gull thefe ganders rarely: 
Gentlemen hauing in my peregrinatid through Mefo- 55 
potamia. 

lun. Speake legibly, this gam's gone, without the 
great mercy of God, 

Heres a fine tragedy indeed. Thers a Keifars royall. 
By Gods lid, nor King nor Keifar fhall ? 60 

Knter Finio, Pacue, Bait. Martino. 

Bait. Where? where? Finio, where be they: 

lun. Go to, ile be with you anon. 

Oni. O her's the page fignior luniper: 

lun. What fayth monfieur Onion, boy. 

Fin: What fay you fir. luni. Tread out boy. 65 

Fin: Take vp, you meane fir. 

lun. Tread out I fay, fo, I thanke you, is this the 
boy. 

Pac. Aue mounfieur. 

luni. Who gaue you that name ? 70 

Pac. Giue me de name, vat name: 

Oni. He thought your name had been, we yong 
gentlemen, you muft do more then his legges can do 
for him, beare with him fir. 

luni. Sirrah giue me inftance of your carriage? 75 
youle ferue my turne, will you? 

Pac. What? turne vpon the toe. 

Fin. O fignior no. 

luni. Page will you follow me, ile giue you good 
exhibition. 80 

54 will] will I W, G 58 God,] om. G 60 'slid G 



82 A pleafant Comedy, called [Act 5 

Vac. By gar, fhal not alone follow you, but fhal 
leade you to. 

Oni. Plaguie boy, he fooths his humour? thefe 
french villaines ha pockie wits. 

luni. Here? difarme me? take my femitary. 85 

Valen. O rare, this would be a rare man, and he 
had a little trauell, Balthafar, Martino, put off your 
fhooes, and bid him coble them, 

luni. Freinds, friends, but pardon me for fellows, 
no more in occupation, no more in corporation, tis fo 90 
pardon me, the cafe is alterd, this is law, but ile ftand 
to nothing. 

Pac. Fat fo me tinke. 

luni. Well then God faue the dukes Maiefty, is this 
any harme now ? fpeake, is this any harme now. 95 

Oni. No nor good neither, Sbloud? 

luni. Do you laugh at me? do you laugh at me? do 
you laugh at me? Valen. I fir, we do. 

lunip. You do indeed? Valen. I indeed fir. 

luni. Tis fufficient. Page carry my purfe, dog me? 100 

'Exit. 

Oni. Gentlemen leaue him not, you fee in what cafe 
he is, he is not in aduerfity, his purfe is full of money, 
leaue him not? Exeunt 

[Scsene 4.] 
Enter Angela with Rachel. 

Ang. Nay gentle Rachel? 

Rach. Away? forbeare? vngentle Angela, 
Touch not my body, with thofe impious hands, 
That like hot Irons feare my trembling heart. 
And make it hiffe, at your difloyalty, 5 

Scaene . . . Rachel.^ Scene III. The open Country. Enter, 
etc. G 5 Enter Paulo Ferneze and Chamont at a dis- 

tance. G 



Scene 4] The Cafe is Alter d 83 

Enter Chamount Paulo Fernese. 
Was this your drift? to vfe Ferneses name? 
Was he your fitteft ftale, 6 wild difhonor ! Fau. Stay 
noble fir. 

Ange. Sbloud how like a puppet do you talke now ? 
Difhonor ? what difhonor ? come, come, f oole, 10 

Nay then I fee y'are peeuifh. S'heart difhonor? 
To haue you a to prieft and marry you. 
And put you in an honorable ftate. 

Rack. To marry me ? 6 heauen, can it be ? 
That men fhould Hue with fuch vnfeeling foules, 15 

Without or touch or confcience of religion, 
Or that their warping appetites fhould fpoile 
Thofe honor'd formes, that the true feale of friendfhip 
Had fet vpon their faces. 

Ange. Do you heare ? what needs all this ? fay, will 20 
you haue me, or no? 

Kach. Il'e haue you gone, and leaue me, if you 
would. 

Ange. Leaue you ? I was accurft to bring you hither, 
And make fo faire an ofifer to a foole. 

A pox vpon you, why fhould you be coy, 25 

What good thing haue you in you to be proud of ? 
Are y'any other then a beggars daughter? 
Becaufe you haue beauty, O Gods light a blaft. 

Pau. I Angela. 

Ange. You fcornefull baggage, I lou'd thee not fo 30 
much, but now I hate thee. 

Rack. Vpon my knees, you heauenly powers, I 
thanke you. 
That thus haue tam'd his wild affections. 

Ange. This will not do, I muft to her againe, 
Rachel, 6 that thou fawft my heart, or didft behold, 35 

7 wild] vile G 8 [Holding back Chamont. G 12 to a 

W, G 18 fcale IV 34 [Aside. G 



84 A pleafant Comedy, called [Act 5 

The place from whence that fcalding figh euented. 
Rachel, by lefu I loue thee as my foule, 'Rachel, fweet 
'R.achel. 

Rack. What againe returnd vnto this violent paffion. 

Ange. Do but heare me, by heauen I loue you 40 
Rachel. 

Rach. Pray forbeare, 6 that my Lord Fernese were 
but here : 

Ange. Sbloud and he were, what would he do. 

Rau. This would he do bafe villaine: Rach. My 
deere Lord, 45 

Rau. Thou monfter, euen the foule of trechery ! 
O what difhonord title of reproch. 
May my tongue fpit in thy deferued face ? 
Me thinkes my very prefence fhould inuert, 
The fteeled organs of those traytrous eyes, 50 

To take into thy heart, and pierce it through : 
Turn'ft thou them on the ground? wretch, dig a graue, 
With their fharp points, to hide th' abhorred head; 
Sweet loue, thy wrongs haue beene too violent 
Since my departure from thee, I perceiue : 55 

But now true comfort fhall againe appeare. 
And like an armed angell guard thee fafe 
From all th' affaults of couered villany. 
Come Mounfieur, let's go, & leaue this wretch to his 
defpaire. 60 

Ange. My noble Fernese. 

Pau. What canft thou fpeake to me, and not thy 
tongue, 
Forc't with the torment of thy guilty foule 
Breake that infected circle of thy mouth, 
Like the rude clapper of a crazed bell. 65 

I, that in thy bofome lodg'd my foule, 

45 Pau. [Rushes forward.] G 45 villaine : [Flings him off. G 

45 Lord, [Runs into his arms. G 53 th'] thy W, G 

61 [lord!] Ferneze! G 66 I, [I] G 



Scene 5] The Cafe is Alterd 85 

With all her traine of fecrets, thinking them 

To be as fafe, and richly entertained, 

As in a Princes court, or tower of ftrength, 

And thou to proue a traitor to my truft, 70 

And bafely to expofe it, 6 this world ! 

Ange. My honorable Lord. 

Pau. The very owle, who other birds do ftare & 
wonder at. 

Shall hoot at thee, and fnakes in euery bufh 75 

Shall deafe thine eares with their — 

Cha. Nay good my Lord, giue end vnto your 
paffions. 

Ange. You fhall fee, I will redeeme your loft 
opinion. 80 

Rack. My Lord beleeue him. 

Cha. Come, be farisfied, fweet Lord you know our 
hafte, 

Let vs to horfe, the time for my engaged returne is paft ; 
Be friends againe, take him along with you. 85 

Pau. Come fignior Angela, hereafter proue more 
true. 'Exeunt. 

[Scsene 5.] 

'Enter Count Eerneze, Maximillian, Erancefco. 

Count. Tut Maximillian, for your honor'd felfe, 
I am perfwaded, but no words fhall turne 
The edge of purpofd vengeance on that wretch. 
Come, bring him forth to execution. 

Enter Camillo hound, with feruants 
lie hang him for my fonne, he fhall not fcape, 5 

Had he an hundred Hues : Tell me vile flaue, 
Thinkeft thou I loue my fonne? is he my flefh? 

86 fignior] om. G Scsene . . . Francefco.] Scene IV. A 

Room in count Ferneze's House. Enter, etc. G 



86 A pleafant Comedy, called [Act 5 

Is he my bloud, my life? and fhall all thefe be torturd 
for thy fake, and not reueng'd? truffe vp the 
villaine. 10 

Max. My Lord, there is no law to confirme this 
action. 

Tis difhonorable. Count. Difhonorable ? Maximillianf 
It is difhonorable in Chamount, the day of his prefixt 
returne is paft, and he fhall pay fort. 15 

Cam. My Lord, my Lord, 
Vfe your extreameft vengeance, ile be glad 
To fufifer ten time more, for fuch a friend. 

Count. O refolute and peremptory wretch ! 

Fran. My honored Lord, let vs intreat a word. 20 

Count. lie heare no more, I fay he fhall not Hue, 
My felfe will do it. Stay, what forme is this 
Stands betwixt him and me, and holds my hand. 
What miracle is this? tis my owne fancy, 
Carues this impreffion in me, my foft nature, 25 

That euer hath retaind fuch foolifh pitty, 
Of the moft abiect creatures mifery. 
That it abhorres it, what a child am I 
To haue a child? Ay me, my fon, my fon. 

Fnter Chriftophero. 

Chrif. O my deere loue, what is become of thee ? 30 
What vniuft abfence layeft thou on my breft. 
Like waights of lead, when fwords are at my backe, 
That run me through with thy vnkind flight. 
My gentle difpofition waxeth wild, 
I fhall run frantike, 6 my loue, my loue. JLnter laques. 35 

laq. My gold, my gold, my life, my foule, my 
heauen. 
What is become of thee ? fee, ile impart 
My miferable loffe to my good Lord, 
Let me haue fearch my Lord, my gold is gone. 

29 Ay] ah W, G 29 [Weeps and walks aside. G 



Scene 5] The Cafe is Alterd 87 

Count. My (onne, Chriftophero, thinkft it poffible, 40 
I euer fhall behold his face againe. 

Chrif. O father wher's my loue, were you fo care- 
leffe 
To let an vnthrift fteale away your child. 

laq. I know your Lordfhip may find out my gold, 
For Gods fake pitty me, iuftice, fweet Lord. 45 

Count Now they haue yong Chamountf Chrifto- 
phero? 
Surely they neuer will reftore my fonne. 

Chrif. Who would haue thought you could haue 
beene fo careleffe to loofe your onely daughter. 

laq. Who would thinke, 50 

That looking to my gold with fuch hares eyes, 
That euer open, I euen when thy fleepe, 
I thus fhould loofe my gold, my noble Lord, what faies 
your Lordfhip? Count. O my fonne, my fonne. 

Chrif. My deereft Rachel? laq. My nioft hony 
gold. 55 

Count. Heare me Chriftophero. 

Chrif. Nay heare me laques. 

laq. Heare me moft honor'd Lord. 

Max. What rule is here? 

Count. O God that we fhould let Chamount efcape. 

Enter Aurelia, Phocnixella. 

Chrif. I and that 'Rachel, fuch a vertuous mayd, 
fhould be thus ftolne away. 60 

laq. And that my gold, being fo hid in earth, 
fhould bee found out. 

Ma;r. O confufion of languages, & yet no tower 
of Bah el! 

Fran. Ladies, befhrew me, if you come not fit to 65 
make a iangling confort, will you laugh to fee three 
conftant paffions. 

40 think'st thou W, G 52 thy] I W they G 64 Enter 

AuRELiA and Phcenixella. G 



88 A pleafant Comedy, called [Act 5 

lAax. Stand by, I will vrge them, fweet Count, will 
you be comforted. 

Count. It cannot be but he is handled the molt 70 
cruelly, 
That euer any noble prifoner was. 

"Max. Steward, go cheere my Lord: 

Chrif. Well, if 'Rachel tooke her flight willingly? 

Ma.r. Sirrah, fpeake you touching your daughters 75 
flight? 

lag. O that I could fo foone forget to know the 
thiefe againe, that had my gold, my gold. Ma.*-. Is 
not this pure? 

Count. O thou bafe wretch, ile drag thee through 
the ftreets, 80 

Enter Balthafar, and whifpers with him. 
And as a monfter, make thee wondred at, how now. 

Fhcen. Sweet Gentleman? how too vnworthily 
Art thou thus tortured, braue Maximillian, 
Pitty the poore youth and appeafe my father. 

Count. How, my fonne returnd? O Maximillian, 85 
Francifco, daughters? bid him enter here. 

Knter Chamount, Ferneze, Rachel, Angela. 
Doft thou not mocke me? O my deere Paulo welcome. 

Max. My Lord Chamount? Cha. My Gafper. 

Chrif. Rachel. laq. My gold Rachel f my gold? 

Count Some body bid the begger ceafe his noife. 90 

Chrif. O fignior Angela, would you deceiue 
Your honeft friend, that f imply trufted you? 
Well Rachel: I am glad tho' art here againe. 

Ang. I faith fhe is not for you fteward. 

laq. I befeech you maddam vrge your father. 95 

Rho^. I will anon? good laques be content. 

Aur. Now God a mercy fortune, and fweet Venus, 
Let Cupid do his part, and all is well. 

Rhos. Me thinks my heart's in heauen with this 
comfort. 



Scene 5] The Cafe is Alterd 89 

Cha. Is tliis tlie true Italian courtefie. 100 

Vernese were you torturd thus in France ? by my foules 
fafety. 

Count. My moft noble Lord? I do befeech your 
Lordfhip. 

Cha. Honored Count, wrong not your age with 105 
flexure of a knee, 

I do impute it to thofe cares and griefes, 
That did torment you in your abfent fonne. 

Count O worthy gentlemen, I am afhamd 
That my extreame affection to my fonne, no 

Should giue my honour fo vncur'd a maine, 
But my firft fonne, being in Vicensa loft. 

Cha. How in Vicenza? loft you a fonne there ? 
About what time my Lord ? 

Count. O the fame night, wherein your noble father 115 
tooke the towne. 

Cha. How long's that fince my Lord? can you 
remember. 

Count. Tis now well nie vpon the twentith yeare. 

Cha. And how old was he then? 

Count. I cannot tel, betweene the yeares of three 120 
and foure, I take it. 

Cha. Had he no fpeciall note in his attire. 
Or otherwife, that you can call to mind. 

Count I cannot well remember his attire, 
But I haue often heard his mother fay: 125 

He had about his necke a tablet, 
Giuen to him by the Emperour Sigifmund. 
His Godfather, with this infcription, 
Vnder the figure of a filuer Globe: 'En minimo, 
mundus. 130 

Cha. How did you call your fonne my Lord? 

103 Lord? [Kneels. G 105 Count, [Raises him. G 

III maine,] maim; W, G 129 En] In W, G 



90 A pleafant Comedy, called [Act 5 

Count Camillo Lord Chamount. 

Cha. Then no more my Gafperf but Camillo, 
Take notice of your father, gentlemen: 
Stand not amazd? here is a tablet, 135 

With that infcription ? found about his necke 
That night, and in Vicensa by my father, 
(Who being ignorant, what name he had) 
Chriftned him Gafper, nor did I reueale. 
This fecret till this hower to any man. 140 

Count. O happy reuelation? 6 bleft hower? 6 my 
Camillo. 

Vha^. O ftrange my brother. 

Yran. Maximilian f behold how the aboundance of 
his ioy 145 

Drownds him in teares of gladneffe. 

Count. O my boy ? f orgiue thy fathers late aufterity : 

Max. My Lord? I deliuered as much before, but 
your honour would not be perfwaded, I will hereafter 
giue more obferuance to my vifions? I drempt of this. 150 

lag. I can be ftill no longer, my good Lord, 
Do a poore man fome grace mongft all your ioyes. 

Count. Why whats the matter laques. 

laq. I am robd, I am vndone my Lord, robd and 
vndone: 155 

A heape of thirty thoufand golden crownes, 
Stolne from me in one minute, and I feare: 
By her confedracy, that cals me father. 
But fhe's none of mine, therefore fweet Lord: 
Let her be tortured to confeffe the truth. 160 

Max. More wonders yet. 

Count. How laques is not Rachel then thy daughter. 

laq. No, I difclaime in her, I fpit at her, 
She is a harlot, and her cuftomers. 

Your fonne this gallant, and your fteward here, 165 

Haue all been partners with her in my fpoile? no leffe 
then thirty thoufand. 



Scene 5] The Cafe is Alter d 91 

Count, laques, laques, this is impoffiole, how 
fhouldft thou come? to the poffeffion of fo huge a 
heape: 170 

Being alwaies a knowen begger. 

laq. Out alas, I haue betraid my felfe with my owne 
tongue. 
The cafe is alterd. Count. One ftay him there. 

Max. What meanes he to depart, Count Fernese, 175 
vpon my foule this begger, this begger is a counterf ait : 
vrge him? didft thou loofe gold? laq. O no I loft 
no gold. 

Max. Said I not true. 

Count. How? didft thou firft loofe thirty thoufand 
crowns, 180 

And now no gold? was Rachel firft thy child: 
And is fhee now no daughter, firra laques, 
You know how farre onr Millaine lawes extend, for 
punifhment of liars, 

laq: I my Lord? what fhall I doe? I haue no 185 
ftarting hols ? 
Mounfieur Chamount ftand you my honored Lord. 

Cha. For what old man? 

laq. Ill gotten goods neuer thriue, 
I plaid the thief e, and now am robd my felfe: 
I am not as I feeme, laques de prie, 190 

Nor was I borne a begger as I am : 
But fometime fteward to your noble father. 

Cha. What Melun that robd my fathers treafure, 
ftole my fifter? 

laq. I, I, that treafure is loft, but Ifabell your 195 
beautious fifter here feruiues in Rachel: and therefore 
on my knes ? 

Max Stay laques ftay? the cafe ftill alters? 

174 alterd. [Going. G 174 Some one W, G 174 there.] 

here. W, G 176 (first) this begger,] om. G 184 punish- 

ing IV 186 [Aside. G 190 as] what IV, G 



92 A plea f ant Comedy, called [Act s 

Count. Faire 'Rachel fifter to the Lord Chamount. 

Ang. Steward your cake is dow, as well as mine. 200 

Paw. I fee that honours flames cannot be hid, 
No more then lightening in the blackeft cloud. 

Max. Then firra tis true? you haue loft this gold, 

lag. I worthy fignior, thirty thoufand crownes. 

Count. Maffe who was it told me, that a couple of 205 
my men, were become gallants of late. 

'Fran. Marry twas I my Lord? my man told me? 

Enter Onion and luniper. 

Max. How now what pagent is this, 

luni. Come fignior Onion, lets not be afhamd to 
appeare, 210 

Keepe ftate? looke not ambiguous now? 

Oni. Not I while I am in this fute. 

luni. Lordings, equiualence to you all. 

Oni. We thought good, to be fo good, as fee you 
gentlemen 215 

Max. What? mounfieur Onion f 

Oni. How doft thou good captaine. 

Count. What are my hinds turnd gentlemen. 

Oni. Hinds fir? Sbloud and that word will beare 
action, it fhall coft vs a tlioufand pound a peece, but 220 
weele be reuenged. 

luni. Wilt thou fell thy Lordfhip Count? 

Count. What? peafants purchafe Lordfhips? 

luni. Is that any Nouels fir. 

M-ax. O tranfmutation of elements, it is certified 225 
you had pages: 

luni. I fir, but it is knowen they proued ridiculus, 
they did pilfer, they did purloine, they did procraftinate 
our purfes, for tlie which wafting of our ftocke, we 
haue put tlie to the ftocks. 230 

207 Enter Onion and Juniper dressed as before. G 220 an 

action W, G 



Scene 5] The Cafe is Alterd 93 

Count. And thither fhall you two prefently, 
Thefe be the villaines, that ftole laques gold, 
Away with them, and fet them with their men. 

M.ax. Onion you will now bee peeld. 

Fran; The cafe is alterd now 235 

Oni. Good my Lord, good my Lord : 

luni. Away fcoundrell? doft thou feare a little 
elocution ? 

Shall we be confifcate now? fhal we droope now? 
Shall we be now in helogabolus : 240 

Oni. Peace, peace, leaue thy gabling? 

Count. Away, away witli them; whats this they 
prate. Exeunt with luniper and Onion. 

Keepe the knaues fure, ftrickt inquifition 
Shall prefently be made for laques gold. 
To be difpofd at pleafure of Chamount. 245 

Cha. She is your owne Lord Paulo, if your father 
Giue his confent. 

Ang. How now Chriftofero? The cafe is alterd. 

Chrif. With you, as well as me, I am content fir. 

Count. With all my heart ? and in exchange of her, 250 
(If with your faire acceptance it may ftand) 
I tender my Aurelia to your loue. 

Cha. I take her from your Lordfhip, with all thanks, 
And bleffe the hower wherein I was made prifoner : 
For the fruition of this prefent fortune, 255 

So full of happy and vnlookt for ioyes, 
Melun, I pardon thee, and for the treafure, 
Recouer it, and hold it as thine owne : 
It is enough for me to fee my fif ter : 

Liue in the circle of Ferneses armes, 260 

My friend, the fonne of fuch a noble father, 
And my vnworthy felf e rapt aboue all. 
By being the Lord to fo diuine a dame. 

242 [Exeunt Servants with JuN. and Onion. G 251 your] 

you W 262 wrapt W 263 to] of W 



94 A pleafant Comedy, etc. [Act 5 

Max. Well, I will now fweare the cafe is alterd. 
Lady fare you well, I will fubdue my affections, Mad- 265 
dam (as for you) you are a profeft virgin, and I will 
be filent, my honorable Lord Ferneze, it fhall become 
you at this time not be frugall, but bounteous, and open 
handed, your fortune hath been fo to you Lord 
Chamount. 270 

You are now no ftranger, you muft be welcome, you 
haue a faire amiable and fplendius Lady : but fignior 
Paulo, fignior Camillo, I know you valiant? be louing: 
Lady I muft be better knowne to you, figniors for you, 
I paffe you not: though I let you paffe; for in truth 275 
I paffe not of you, louers to your nuptials, Lordings to 
your dances, March faire al, for a faire March, is 
worth a kings ranfome. 'Exeunt 



The end. 



272 splendid W, G 



Notes 95 



NOTES. 

These notes include whatever has been thought valuable in previ- 
ous editions. Notes signed W are from Whalley, G from Gifford, 
C from Cunningham. The Bibliography should be consulted for 
other abbreviated references and editions of works cited. Refer- 
ences to the text of The Case is Altered are to act, scene, and line 
of this edition; other references to Jonson are to volume and page 
of the Cunningham-Gifford edition of 1875. 

TITLE-PAGE 

The Case is Alterd. A proverbial expression, said to have been 
originated by Edmund Plowden (1518^1585), a celebrated lawyer. 
'His name was embodied in the proverb, "The Case is Altered, 
quoth Plowden," which has occasioned some speculation as to its 
origin. The most probable explanation is that Plowden was engaged 
in defending a gentleman who was prosecuted for hearing mass, 
and elicited the fact that the service had been performed by a lay- 
man, who had merely assumed the sacerdotal character and vest- 
ments for the purpose of informing against those who were present. 
Thereupon the acute lawyer remarked, "The case is altered : no 
priest, no mass," and succeeded in obtaining the acquittal of his 
client.' — D.N.B. Other explanations are given by Ray (p. 119) ; 
Grose (p. 219); Hazlitt (1907, p. 411). 

The following are some of the places where the expression is 
quoted: Every Man In 1. 139; Return from Parnassus (p. 64); 
3 Hen. VI 4. 3. 31 ; Kyd, Solyman and Pcrseda (p. 192) ; Lyly, 
Mother Bomhie (Wks. 3.218) ; Chapman, May Day (Wks. 2.341) ; 
Greene, James IV {Wks. I3-3I5), George a Greene {Wks. 14. 156), 
Looking Glass for London { Wks. 14. 38) ; Harvey, Foure Letters 
{Wks. 1. 185) ; Heywood, // You Know Not Me {Wks. 1.332); 
Nashe, Saffron-Walden {Wks. 3. loi). 

Chappell says there was a tune called 'The case is altered,' to 
which many ballads were sung (1.279). 

children of the Black-friers. One of the companies of players 
selected from the choirs of the Chapel Royal, and from the 
cathedral and collegiate churches in and near London. Under the 
management of Nathaniel Gyles, it performed at the Blackfriars 
from 1597 to 1603. The same company performed Cynthia's Revels 



96 The Cafe is Alterd [Title-Page 

(1600), Poetaster (1601), and, as the Children of her Majesty's 
Revels, Epicoene (1609) ; cf. Fleay, Stage (p. 127), Drama (1.348-9, 
362, 365); Brooke (p. 380); Baker (pp. 12, 13); Schelling (i. in 
ff., 472-3) ; Ward (2. 354, 356, 364) ; Wallace, The Children . . . 
at Blackfriars. 

'The freehold of the house which was transformed into this 
theatre was purchased by James Burbadge of Sir W. More 4th 
May 1596. It was near Ludgate in London, so that both the private 
houses were within the walls. It consisted of seven large rooms, 
middle stories, and upper rooms. The purchase money was £600. 
. . . There is no trace of any performance there until November 
1598, when The Case is altered, by Jonson, (his earliest extant 
play) was acted by "the children of the Blackfriars." ... In 
1642 this theatre was finally closed' (Fleay, Stage, pp. 152-3). See 
also Baker (pp. 11-3) ; Lawrence {s. v. Blackfriars) ; Schelling 
(i. 154, 160) ; Wallace, The Children . . . at Blackfriars. 

Written by Ben lonson. His name is omitted from some copies 
of the quarto. A discussion of this will be found in the Introduc- 
tion, pp. xi ff. 

In Domino confide. See Ps. 11. i. The use by printers and 
publishers of special ornaments or designs in order to distinguish 
their work from that of others came from the Continent, where 
devices had been used by printers since 1462. The earliest device 
used in England was that of the St. Albans Press, which dates 
from about 1485. Caxton's was the next, and was used about 1487 
or 1488. Up to the end of the fifteenth century, only eleven separate 
devices were in use. 

The device of the fleur-de-lis, which appears on the title-page of 
our play, was used by several printers. It seems first to have been 
used by John Wolfe, who was printer to the City of London from 
1593 to 1601. At his death in 1601, his business and stock were 
transferred to Adam Islip, but his devices seem to have been dis- 
persed. Regarding Wolfe's adoption of the fleur-de-lis, McKerrow 
says (Devices, p. xxix) : 'Wolfe had, as is well known, a connection 
with Italy, and is supposed to have passed some time at Florence 
about 1576. It is perhaps for this reason that as his regular device 
he used the fleur-de-lis of the Junta family. Most if not all of his 
numerous fleur-de-lis devices are more or less closely copied from 
those of one or other branch of this family, who had printing 
establishments at Florence, Venice, and Lyons.' 

There is no record of how the device came to be used by Barren- 
ger and Sutton. The probability is that it was selected merely as 
an ornament. More details of the history and use of the fleur-de- 



Act i] Notes 97 

lis by printers will be found in McKerrow (Devices, pp. xi, xxix, 
5, 185, 186, 264-72, 298). 

Bartholomew Sutton and William Barrenger. Bartholomew Sut- 
ton was a bookseller in London, 1609, at St. Paul's churchyard. He 
was the son of Bartholomew Sutton, citizen and draper of London. 
Apprenticed for eight years to Edward Whyte, stationer of London, 
from December 25, 1601, he took up his freedom on January 18, 
1608/9 (Arber 2.255; 3-683). He made his first book-entry in 
partnership with William Barrenger on March 3, 1608/9 (Arber 3. 
403; McKerrow, Diet, of Printers, p. 259). 

William Barrenger (or Barringer) was a bookseller in London, 
1600-1622, near the great north door of St. Paul's. He was the 
son of Thomas Barrenger of Steventon, Co. Bedford, yeoman. 
Apprenticed to Clement Knight, stationer of London, for eight 
years, from midsummer, 1600 (Arber 2.245), he took up his freedom 
January 8, 1607/8 (Arber 3.683; McKerrow, Diet., p. 24). 

great North-doore of Saint Paules Church. St. Paul's church- 
yard, chiefly occupied by printers and booksellers, was an irregular 
area, lined with houses and booths, encircling St. Paul's Cathedral. 
At an early date, the printers abandoned the churchyard to the 
booksellers, probably because they needed more room for their print- 
ing. After the fire which destroyed the old Cathedral, the majority 
of the stationers removed to Little Britain and Paternoster Row. 
Cf. Wheatley-Cunningham, London Past and Present (3. 53-4) ; 
Stationers' Register (Vol. 5) ; McKerrow, Devices. 

ACT I 

1. 1. 1. Yov wofuU wights, etc. Probably a parody on the 
manner in which the ballads of the day usually began. Jonson 
evidently did not favor this kind of literature. Cf. Conversations 
9. 404: 'A poet should detest a Ballet maker.' We gain the 
same impression from his disparaging references to ballads, in his 
works: Every Man In 1.204 (cf. pp. 21-2, 97, 102) : 'And they must 
come here to read ballads, and roguery, and trash.' Nightingale, 
the ballad-singer in Bartholomew Fair, will be remembered (4. 385, 
393-4,425-30). See also Pleasure Reconciled 7.300; Neptune's 
Triumph 8.28; Fortunate Isles 8.71; Underwoods 8.369. 

Regarding the popularity of ballads, Chappell writes (pp. 105-6) : 
'Some idea of the number of ballads that were printed in th., 
early part of the reign of Elizabeth may be formed from the fact 
that seven hundred and ninety-six ballads, left for entry at 
Stationers' Hall, remained in the cupboard of the council chambers 



98 The Cafe is Alterd [Act i 

of the company at the end of the year 1560, to be transferred to 
the new Wardens, and only forty-four books.' 

The best collection of ballads is, of course. Child's English and 
Scottish Popular Ballads. For the Cambridge edition of this work, 
Professor Kittredge has written a valuable introduction. A discus- 
sion of the literary character of the ballad will be found in Gum- 
mere, The Popular Ballad (Boston and New York, 1907). A 
bibliography of ballads will be found in The Cambridge Hist, of 
Eng. Lit. (2.553-6). 

1. 1. 14. Ha resembles our eh. Franz (249-55) has a compre- 
hensive list of interjections. 

1. 1. 18-9. now must I of a merry Cobler become mourning 
creature. Cf. Every Man In 1.49: 'I cannot choose but laugh to 
see myself translated thus, from a poor creature to a creator.' 

Of sometimes meant instead of, when used with become (Matzner 
2.240; Abbott 171). According to Professor Cook, this usage is 
to be found in 'classical' English writers, since it comes from 
Greek and Latin. Judson {Yale Studies 45.231) has a valuable 
note on the subject, furnishing numerous references from Greek 
and Latin writers. See Cynthia's Revels 2. 355 : 'And of a stone, be 
called a Weeping-cross'; Volpone 3.192: 'Of a whore, she became 
a philosopher' ; Staple of News 5- 249 : 'Of an advocate, he grew the 
client'; Nabbes, Microcosmos (9.133, Dodsley, 1825): 'Of her 
gentleman-usher, I became her apple-squire.' 

a merry Cobler. Cobblers were proverbially merry. In Locrine 
(2.2) they enter and sing, 'We coblers lead a merie life.' Thomas 
Deloney, in The Gentle Craft, has six short stories dealing with men 
of this trade. In one of them (p. 61), a man masquerading as a 
cobbler is found to be an imposter, because he could neither sing, 
sound the trumpet, play the flute, nor 'recon up his tooles in rime.' 
See also Dekker, Shoemaker's Holiday (Wks. 1.277); Wilson, 
Cobbler's Prophecy. 

mourning creature. By putting on a black coat. The family 
were in mourning for the death of Lady Ferneze. 

1. 1. 21. a word to the wise. See Plautus, Persa 4.7.19: 'Dic- 
tum sapienti sat est.' The same expression is found in Terence, 
Phormio 3. 3. 8. Cf . Rabelais, Pantagruel 5. 7 : 'A bon entendeur 
ne fault qu'une parole.' A part of the Portuguese version of the 
proverb is quoted in the Masque of Augurs 7.420. See also Miscel- 
laneous Pieces 9.328; Brome, City Wit (Wks. 1.356). Other 
examples may be found in Ray (p. 117) and Hazlitt (1907, pp. 
31, 45). 

1. 1. 22-3. Lye there the weedes that I disdaine to weare. 
Cf. Marlowe, / Tamburlaine {Wks. i. 18) : 'Lie here ye weeds that 



Act i] Notes 99 

I disdain to wear.' The expression was used to serve various pur- 
poses. Referring to one that had been killed : Marlowe, Massacre 
at Paris (JVks. 2.279) : 'Lie there, the King's delight, and Guise's 
scorn'; Rom. and Jul. 5.3. 87; K. John 3.2.3; ^ Hen. VI 5.2.66; 
T. Andron. i. 1.387; laying down apparel: Tempest 1.2.25: 'Lie 
there my art'; Staple of News 5.162; Marston, Eastward Hoe 
{Wks. 3.32); Ford, Lover's Melancholy (IVks. 1.22); referring 
to a sword: 2 Hen. IV 2.4. 197: 'Sweetheart, lie thou there'; Rom 
and Jul. 4.3.23; speaking of a letter: T. Night 2.5.24. In this 
connection, Dyce has collected several references relating to apparel 
(Shak. Gloss., p. 244). 

1. 1. 26. Ingle. Originally a boy favorite. Later 'it came to be 
used for a mere intimate. . . . The boys of the theatre were 
frequently called Engle, which is more likely than anything else to 
have brought the word into common use, and to have aboHshed the 
first meaning.' — Nares. Cf. Nashe, Foure Letters (Wks. 1.326): 
'I am afraide thou wilt make mee thy Ingle.' In Histrio-Mastix 
(Simpson, Sch. of Shak. 2. ss), the editor defines ingles as : 'Players, 
claque men, or applauders.' The definition refers to the following 
passage in that play (the characters are speculating on the reception 
of a sub-play called The Prodigall Childe) : 

'Gulsh. I, but how if they do not clap their hands? 

Post. No matter so they thump us not. 
Come, come, we poets have the kindest wretches to our Ingles. 

Belch. Why, whats an Ingle, man? 

Post. One whose hands are hard as battle doors with clapping 
at baldness. 

Clorot. Then we shall have rare ingling at the prodigall child.' 
See Poetaster 2. 378 (and cf . 405, 434) : 'What ! shall I have my son 
a stager now? an enghle for players? a gull, a rook, a shotclog, to 
make suppers, and be laughed at'; Cynthia's Revels 2.211. 

In our play, the word is used only by Juniper, and each time to 
an intimate. For the term used in this sense, see Massinger, 
City-Madam ( Wks. 4. 70) : 'Coming, as we do, From his quondam 
patrons, his dear ingles now'; Peele, Jests (Wks. 2. 394) : 'He was 
in a manner an ingle to George, one that took great delight to have 
the first hearing of any work that George had done'; Scott, 
Kenilworth (Chap. 3) : 'Ha! my dear friend and ingle, Tony Foster.' 
See also Epiccene 3-344; Dekker, Wonderfull Yeare (Pr. Wks. i. 
87); and his Guls Horne-booke (Pr. Wks. 2.264). The word was 
not used by Shakespeare. 

1. 1. 28. put to my shifts. Forced to adopt some stratagem or 
trick; to be in a difficulty: Cynthia's Revels 2.279: 'As a citizen's 



loo The Cafe is Alterd [Act i 

wife, be troubled with a jealous husband, and put to my shifts'; 
Marlowe, Jew of Malta (IV ks. 2.29) : 

And, since you leave me in the ocean thus 
To sink or swim, and put me to my shifts, 
I'll rouse my senses and awake myself. 

See also T. Andron. 4.2.175; Sheridan, Rivals 5.1. Jonson has 
another example in Love Restored 7. 201. 

1. 1. 31. Are come used for have come (Matzner 2.73; Franz 
631 ; N. E. D., s. V. he 14 b, have 24). 

1.1.34-5- he is one as right of thy humour as may be. Cf. 
Poetaster i. 374: 'I am right of mine old master's humour for that.' 

1. 1.35-6. he hath bene a notable vilaine m his time. Cf. 
Every Man Out 2.7, 140: '[Fungoso] One that has revelled in his 
time'; 'He has done five hundred robberies in his time'; Poetaster 
2.414: 'I have been a reveller, ... in my time'; Epiccene 3.351, 
379 : 'I have been a mad wag in my time' ; 'He has been a great 
man at the Bear-garden in his time'; Barth. Fair 4.388: 'I have 
been one of your little disciples, in my days.' 

1. 1. 37. A discussion of the uses of shall and will and other 
auxiliaries is found in Franz 608 fif. ; Matzner 2.80,130; A''. E. D. 

I. 1.42-3. I come with a powder? Impetuously, with all speed. 
The N. E. D. quotes from George Ruggle, Club Law, c. 1600 (3. 
4. 1295, ed. 1907) : 'He sett you in with a powder {hee fells him)' ; 
and New Sermon of Newest Fashion, ? 1640 (p. 39, ed. 1877) : 'If 
I might have my will itt should goe downe with a pouder.' See 
also Marlowe, Jew of Malta {Wks. 2.69): 'Here's a drench to 
poison a whole stable of Flanders mares: I'll carry 't to the nuns 
with a powder'; Fuller, Pisgah-sight (5.5, p. 151, London, 1662): 
'Jordan . . . comes down with a powder, and at set times 
overflows all his banks.' 

An interrogation-point was often used after an exclamation. 
Cf. Simpson, Shakespearian Punctuation, p. 85, Oxford, 191 1. 

I.I. 43-5. I must haue you peruse this Gentleman well, and 
doe him good offices of respect and kindnesse. Cf. Every Man 
Out 2.63: 'One that I must entreat you to take a very particular 
knowledge of, and with more than ordinary respect'; ih. 2.139: 
'Know this gentleman, ... do him good offices.' 

I.I. 53. Pageant Poet. The following may be mentioned among 
others as serving in this capacity for the Lord Mayors' pageants : 
Peele, Munday, Dekker, Middleton, Webster, Jonson, and Thomas 
Heywood. 



Act i] Notes loi 

The term 'pa&eant' was originally applied to the movable scaffold 
on which a play was produced, but later it was used of the play 
itself. In its widest sense, the word includes the processional 
pageants or miracle plays of the town guilds ; performances in 
connection with particular festivals, such as Corpus Christi Day, 
Midsummer Eve, Eves of St. John and of St. Peter, etc. ; the play 
of St. George, which was often accompanied by processional 
pageantry; representations of Robin Hood during Mayday festivi- 
ties; and the Hock Tuesday plays at Coventry, a performance of 
which was witnessed by Queen Elizabeth at Kenilworth in 1575. 

In the generally accepted and narrower sense, the term 'pageant' 
was used for moving shows with very little dialogue or action. 
Their character was largely allegorical. This class of show was 
usually performed on some state occasion : the procession of the 
rulers to Westminster for their coronation ; the progress of royalty 
through various parts of the kingdom; the reception of foreign 
monarchs ; the return of the monarch from abroad ; and the Lord 
Mayor's annual procession to celebrate his entrance into office. 
Pageants of this character began in England in 1236 under Henry 
III, and were given at intervals during most of the reigns of the 
succeeding monarchs, but especially in the reigns of Henry VIII 
and Queen Elizabeth. In the course of the latter's reign, the most 
celebrated pageant was that recorded by Laneham as given in 1575, 
on her visit to Kenilworth. 

The material for pageants was usually selected from the Bible, 
history, mythology, folk-lore, and from events illustrating the glory 
of the city, organization, or personage in whose honor the perform- 
ance was given. Strutt (p. xl) remarks that along the line of 
march were usually to be seen 'castles, palaces, gardens, rocks, or 
forests,' in which were gathered 'nymphs, fawns, satyrs, gods, 
goddesses, angels, devils, giants, dragons, saints, knights, dwarfs, 
buffoons, minstrels, and choristers.' 

For a more complete study, the works of the following may be 
consulted : Nichols ; Fairholt, Lord Mayors' Pageants; Sharp ; 
Spencer; Chambers (2.160-76); Strutt; Ward (i. 143-8); War- 
ton (Index, s. vv. Feasts and Solemnities, and Spectacula) ; Greg, 
hist of Masques. 

1.1.60. Of sometimes separated an object from the direct action 
of the verb (Abbott 177; Franz 513). 

1. 1. 66. my minde to me a kingdome is. From a poem by 
Dyer (d. 1607). It was included by Byrd in his Psalmes, Sonets, 
and Songs of Sadnes (1588). Among others it appears in Hannah, 
Courtly Poets; Fuller, Worthies Library (4.251, ed. Grosart, 1872); 



I02 The Cafe is Alter d [Act i 

Percy, Reliques (1.234); Arber, English Garner (2.78). The ver- 
sion in the Reliques has slight differences. Chappell (i. 117), in a 
note, says the poem was sung to the tune of In Crete. The poem 
is supposed to have been suggested by a verse in Seneca, Thyestes 
(2.380) : 'Mens regnum bona possidet.' The first stanza (Hannah, 
p. 149) reads: 

My mind to me a kingdom is. 
Such present joys therein I find, 

That it excels all other bliss 

That earth affords or grows by kind : 

Though much I want which most would have. 

Yet still my mind forbids to crave. 

In the following, the first line of the poem is quoted unchanged : 
Every Man Out 2. 28; Taylor, Begger (p. 96) ; Breton, The Courtier 
and the Country-man (p. 191). 

The following instances may be cited, where the author probably 
had Dyer's poem in mind: 3 Hen. VI 3. 1.59-60: 

Sec. Keep. Ay, but thou talk'st as if thou wert a king. 

K. Hen. Why, so I am, in mind ; and that's enough. 

Beaumont and Fletcher, Monsieur Thomas (IVks. 7.315) : 
I found him at Valentia, poor and needy. 
Only his mind the master of a treasure. 

Byrom's poem, Carless Content {Wks. of Eng. Poets 15.199, ed. 
Chalmers, London, 1810) : 

Dame Nature doubtless has design'd 
A man the monarch of his mind. 

Southwell's poem, Content and Rich {Poems, p. 58, ed. TurnbuU. 
London, 1856) : 

My mind to me an empire is. 

While grace aflfordeth health. 

Cowper's poem. Truth (11. 405-6) : 

A monarch clothed with majesty and awe, 
His mind his kingdom, and his will his law. 

Greene, Faretvell to Follie (IVks. 9.279) : 

Sweet are the thoughts that sauour of content, 
The quiet mind is richer then a crowne. 

1. 1. 66. truly. This word was omitted by Giftord. That it 
should be retained is clear from Antonio's reply. 



Act i] Notes 103 

1. 1. 78. On was used for of, especially before a contracted pro- 
noun (Abbott 182; Franz 500; Matzner 2. 244). 

1. 1. 79. Maecen-asses. Dekker, Guls Horne-booke (Pr. Wks. 
2. 197) has the same pun : 'Whom can I choose (my most worthie 
Mecccn-asses) to be Patrons to this labour of mine fitter then your- 
selues.' See Every Man Out 2. 19 : 'Aristarchus, or stark ass' ; 
Cynthia's Revels 2. 287 : 'Breeches, quasi bear-riches' ; L. L. Lost 
5. 2. 631 : 'Jud-as' ; and the same play, 4. 2. 85 : 'Master Parson, 
quasi pers-on. An if one should be pierced, which is the one'; 
Davies, Paper's Complaint (Wks. 2. 78, 1878): 'Macheuill, that 
euill none can match.' 

1. 1. 90. nothing but humours. Cf . Poetaster 2. 430 : 'They say 
you have nothing but Humours, Revels, and Satires' ; ib. 2. 448 : 
'Alas, sir, Horace ! he is a mere sponge ; nothing but Humours and 
observation.' 

1. 1. 95-6. the last Tearme. The last session of the High Court 
of Justice. The courts were in session four times a year. Halliwell- 
Phillipps has published a small book {Regnal Years, Brighton, 1883), 
giving the list of Law Terms during the years 1564-1616. From this 
we see that the Hilary Term was usually Jan. 23-Feb. 12; the 
Easter Term varied from Apr. 8-May 4, to May ii-June 6; the 
Trinity Term varied from May 22-June 10, to June 24-July 13; and 
the Michaelmas Term was usually Oct. 9-Nov. 28. Sundays, of 
course, were excepted. A list of dates are given also by the C. D., 
and by Harrison (2.9.208-12). 

Cf. Meas. for Meas. i. 1. 11-4: 

Our city's institutions, and the terms 
For common justice, you're as pregnant in 
As art and practice hath enriched any 
That we remember. 

'The law-terms were the principal times for business and pleasure. 
The country gentlemen then flocked to London with their famihes, 
to settle their disputes, see plays and puppet shows (motions), and 
learn the fashions' (Gififord, note. Every Man Out 2.7). Cf. ib. 
('Character' of Sogliardo) : 'He comes up every term to learn to 
take tobacco, and see new motions' ; Epicoene 3. 336 : 'As if a man 
should sleep all the term, and think to eflfect his business the last 
day.' Nares (.$•. v. term) remarks: 'They were the harvest times 
of various dealers, particularly booksellers and authors, many of 
whom made it a rule to have some new work ready for every term.' 
Cf. Dekker, Gnls Horne-booke {Pr. Wks. 2. 199) : 'It is not my 



I04 The Cafe is Alterd [Act i 

ambition to bee a man in Print, thus euery Tearm' ; Nashe, Lenten 
Stuff e (Wks. 3. 151) : 'There is a booke of the Red Herring's Taile 
printed foure Termes since.' 

For other examples, see Cynthia's Revels 2.279; Alchemist 4.20; 
Staple of News 5. 175 ; As You Like If 3. 2. 349; 2 Hen. IV 5- 1- 9o; 
Dekker, North-ward Hoe {Wks. 3. 11), Deuils Answer (Pr. Wks. 
2.144), lests (Pr. Wks. 2.288, 295, 327); Nashe, Summer's Last 
Will (Wks. 3. 292), Anatomie of Absurditie {Wks. 1.23) ; Middle- 
ton, Michaelmas Term {Wks. 1.220); Seruingmans Comfort (p. 
124). 

The word termer sometimes occurs : Beaumont and Fletcher, Wit 
at Several Weapons {Wks. 4.6); Middleton, Michaelmas Term 
{Wks. 1. 219), Family of Love {Wks. 3.7), Roaring Girl {Wks. 
4.7), Witch {Wks. 5.360). In the Phanix, Middleton uses term- 
trotter {Wks. 1.122). 

In addition to Middleton's Michaelmas Term, the following 
titles will be recalled : Dekker, The Dead Tearme or West- 
minster's Complaint for Long Vacations and Short Tearmes; 
Greene, A Peale of Villanies rung out, being Musicall to all Gentle- 
men, Lawyers, Farmers, and all sorts of People that come up to the 
Tearme. 

1. 1. 96. A discussion of and, an, used for if, is found in Franz 
564; cf. A^. E. D. {an, 2; and, C). 

For the use of see for saw, cf. Franz 166; Matzner 2. 67. Another 
instance of a present tense used for a past is found in 4. i. 15. 

1. 1. loo-i. twenty pound a play. An unheard-of sum before 
1612. Of the amount received by an author for a play, Traill (3. 
570) says : 'A new play was known to cost £6. 13s. 4d., though a 
private theatre would be willing to give double that amount.' 
Thornbury (2. 8) and Malone {Shak., 1821, Wks. 3. 161) report the 
same amount. In Histrio-Mastix (Simpson, Sch. of Shak. 2. 50), 
Chrisoganus, who is supposed to represent Jonson, asks iio for a 
play. Drummond {Conversations, Wks. 9.407) remarks: 'Of all 
his [Jonson's] plays he never gained two hundreth pounds.' In 
Greg's edition of Henslowe's Diary (2. 126-7), this matter is treated 
in some detail in the chapter on Dramatic Finance. From this we 
see that the usual sum about 1600 was £6, though the amount 
fluctuated between £5 and £10. Cf. Collier (3.224-32). For the 
advance in price after 1612, see Greg {Diary 2. 141) and Malone 
{Shak. 3.336). 

Pound for pounds. Plural nouns denoting measure, value, dis- 
tance, time, etc., were often used in the singular (Franz 190; 
Matzner i. 240). 



Act i] Notes 105 

1. 1. 104. giue me the penny. The price of admission to the pit 
or gallery of the inferior theatres. At this time the prices to any 
part of the theatre usually ranged from a penny to a shilling. 
See Dekker, Gids Horne-booke (Pr. Wks. 2. 247) : 'Your Ground- 
ling and gallery-Commoner buyes his sport by the penny' ; Nashe, 
Martin's Month's Mind {Wks. i. 179, ed. Grosart, 1883-1884) : The 
other, now wearie of our state mirth, that for a penie, may haue 
farre better oddes at the Theater and Curtaine, and any blind play- 
ing house euerie day' ; Beaumont and Fletcher, Wit Without Money 
{Wks. 4. 176) : 'Break in at plays, like 'prentices. For three a groat, 
and crack nuts with the scholars In penny-rooms again' ; Middle- 
ton, Father Hitbbard's Tales {Wks. 8.64): *A dull audience of 
stinkards sitting in the penny-galleries of a theatre.' 

See Overbury, Characters (p. 154) : 'If he have but twelve-pence 
in his purse he will give it for the best room in a play-house' ; Mars- 
ton, Malcontent (Ind., Wks. 1.202) : 'But I say, any man that hath 
wit may censure, if he sit in the twelve-penny room.' See also Hen. 
VIII (Prol. 11. 1 1-4) ; and Dekker, Guls Horne-booke {Pr. Wks. 
2.203). 

At first performances, and on benefit-nights of the authors, the 
prices seem to have been doubled. See Symonds (p. 288) ; Malone 
(3.164); Rye (p. 88); and Lawrence (p. 11). The fact that it 
was a first performance is supposed partly to account for the high 
prices mentioned in the Induction to Barth. Fair 4. 347 : 'It shall be 
lawful for any man to judge his six-pen' worth, his twelve-pen' 
worth, so to his eighteen-pence, two shillings, half a crown, to the 
value of his place.' Prices of admission, however, were advancing 
at this time (1614) : Beaumont and Fletcher, Wit Without Money 
{Wks. 4.107) : 'Who extoll'd you in the half crown boxes.' See 
also Habington, Queen of Arragon (Prol. 9.339, Dodsley, 1825); 
Mayne, City Match (Epil. 9.330, Dodsley, 1825). 

A stool on the stage brought six pence, later a shilling: Cynthia's 
Revels 2. 210: 

'S Child. A stool, boy ! 

2 Child. Ay, sir, if you'll give me sixpence I'll fetch you one.' 

See Middleton, Roaring Girl {Wks. 4.37): 'The private stage's 
audience, the twelvepenny-stool gentlemen.' See also Dekker, Guls 
Horne-booke {Pr. Wks. 2.249); and Marston, Malcontent {Wks. 
1.200). 

The following deal with the subject: Traill (5.69); Ordish, 
Theatres (pp. 66-7); Baker (p. 19); Thornbury (2.8); Malone 
(3.73-8); and Collier (3.146-57, 342). 



io6 TJie Cafe is Alterd [Act i 

1. 1. 104-5. The nominative of a pronoun was often repeated for 
the sake of emphasis (Franz 298; Matzner 2. 16). 

1. 1, 105-6. let me haue a good ground. Referring, of course, 
to the pit at the theatres. It was somewhat below the level of the 
stage, and was frequented chiefly by the lower classes, who stood 
throughout the performance (cf. Nares, and Collier, Hist. Dram. 
Poetry 3.335)- Because of their position, Jonson refers to these 
as 'The understanding gentlemen o' the ground' (Barth. Fair 4. 346), 
and 'deep-grounded understanding men' (Underwoods 8.336). 
Later in our play, he speaks of their 'grounded judgments' and 
'grounded capacities' (2.7.74-6); cf. Barth. Fair 4.346, 347; 
Cynthia's Revels 2. 214. It will be remembered that the frequenters 
of the pit were known as 'groundlings' ; cf. Hamlet 3. 2. 12 ; Dekker, 
Guls Horne-booke (Pr. IVks. 2.247). 

1. 1. 109-10. dumb shew. The earlier dumb-shows usually gave, 
without speech, a representation of the events of the following 
act. As the dramatic value of the dumb-show became better under- 
stood, it was accompanied by a 'chorus,' or interpreter, who either 
commented on the play, or explained portions that had been omitted. 
Later, members of the dumb-show were assigned spoken parts. 
The following plays may be cited as examples: Gorboduc (1562); 
Gascoigne, Jocasta (1566) ; Kyd, Spanish Tragedy (1586) ; Hughes, 
Misfortunes of Arthur (1587) ; Peek, Battle of Alcazar (1591) ; 
Hey wood. Four Prentices of London (1594) ; Warning for Fair 
Women (1598); Gismond of Sal erne (1568); Marston, What you 
Will (1601) ; Dekker, Whore of Babylon (1604) ; Beaumont and 
Fletcher, Triumph of Love (1608) ; and Webster, Duchess of Malfi 
(1617). Cf. Shakespeare's treatment of the dumb-show: Hamlet 
3. 2. 146 fif. ; Pericles, Acts 2, 3, 4. 4. 

See the following references : Dekker, Guls Horne-booke (Pr. 
Wks. 2.214) : 'You haue heard all this while nothing but the Pro- 
logue, and scene no more but a dumbe shew' ; M. of Venice i. 2. 77-9: 
'He is a proper man's picture, but, alas, who can converse with a 
dumb-show'; Much Ado 2.3.225-6; T. Andron. 3. i. 131-2; Hamlet 
3.2. 12-4; Greville, Sidney (1652, p. 77) : 'Both stood still a while, 
like a dumb shew in a tragedy'; Taylor, The Hog hath lost his 
Pearl (11.464, Dodsley, 1875): 'Why, page, I say! 'Sfoot, he is 
vanished as suddenly as a dumb show.' 

For a comprehensive article, see Foster, 'The Dumb Show in 
Elizabethan Drama before 1620' (Englische Stiidien 44. 8-17). See 
also Cunliffe, 'Italian Prototypes of the Masque and Dumb Show' 
(Pub. Mod. Lang. Association 2.2. 140-56). 

1. 1. 120. The omission of the subject of shall may have been an 
error. However, the nominative was sometimes omitted where its 



Act i] Notes 107 

identity was clear. See 5- 3- 54: 'Now will gull' (Abbott 400, 402; 
Franz 306; Matzner 2. 27-30). 

1. 1. 122. setting vp of a rest. In primero, the 'rest' was 'the 
stakes kept in reserve, which were agreed upon at the beginning 
of the game, and upon the loss of which the game terminated; the 
venture of such stakes.' — N. E. D. The phrase to set up one's rest 
meant to venture one's final stake or reserve : Gascoigne, Supposes 
(Belles-Lettres, ed. Cunliffe, p. 50) : 'This amorous cause that 
hangeth in controversie betwene Domine Doctor and me, may be 
compared to them that play at primero: of whom some one perad- 
venture shal leese a great sum of money before he win one stake, 
and at last halfe in anger shal set up his rest: and win it.' 

Figuratively, the expression had several meanings. One of these 
was 'to take up one's permanent abode,' with an allusion to 'rest' 
meaning 'repose.' This is its import in our text. It is used with 
this sense in The New Inn 5. 309 : 'We have set our rest up here, 
sir, in your Heart.' Romeo, about to take the poison in Juliet's 
tomb, exclaims, 'O, here Will I set up my everlasting rest' (Rom. 
and Jul. 5. 3. lie). See also Lodge, Rosalynde (Wks. i. 50) : 'Aliena 
resolued there to set vp her rest, and by the helpe of Coridon swept 
a bargane with his Landlord, and so became Mistres of the farme 
& the flocke.' Cf. Lear 1. i. 125; and Every Man Out 2. 195. 

Another meaning of the phrase was 'to stake or venture one's 
all upon something': Greene, Penelope's Web (IVks. 5. 181) : 
'Least ayming more at ye weale of our countrey then our own Hues, 
we set our rest on the hazard and so desperately throw at all.' 
Also, 'to be resolved or determined': M. of Venice 2. 2. no: 'I 
have set up my rest to run away.' See Com. of Errors 4. 3. 27 ; and 
cf. Tale of a Tub 6. 135. In the play just mentioned (p. 159), the 
expression means also, 'to settle upon' or 'decide for' : 'Arrested, 
As I had set my rest up for a wife.' 

For further discussion and additional examples, see Nares, and 
Notes and Queries (10.6.509; 7.53,54,175). 

1. 1. 124. Your friend as you may vse him. Cf. Sir Andrew's 
challenge to the masquerading Viola in T. Night 3. 4. 186-7 : 'Thy 
friend, as thou usest him, and thy sworn enemy.' 

1. 1. 126-7. put off this Lyons hide, your eares haue discouered 
you. A reference, of course, to the familiar fable of ^sop. See 
Greene, Mamillia {Wks. 2. 156) : 'Like ^sops asse they clad them- 
selues in a Lions skinne, yet their eares wil bewray what they be.' 
Also Chapman, Bussy D'Ambois {Wks. 2. 19) ; K. John 2. i. 144. 

1. 1. 131. After the recognition, notice the change from you to 
the more friendly and intimate thou. See Abbott 231-4; Franz 
289-289 h. 



io8 The Cafe is Alterd [Act i 

1. 1, 131-2. altred with thy trauell. Foreign travel was much in 
vogue. The accounts of navigators and explorers, first published 
separately, and then collected by Hakluyt in his Principall Naviga- 
tions (1589, 1598-1600), created a great deal of interest in this kind 
of travel. There were accounts also of land-travel. In 1547 Boorde 
published the Fyrste Boke of the Introduction of Knowledge, 
describing his journeys on the Continent. Johnson brought out a 
translation from many sources, the Travellers Breviat (1601). 
Coryat made a walking-tour through France, Italy, and Germany in 
1608, which was described in his Crudities (1611), and for which 
Jonson wrote a humorous character-sketch of the author. Sandys, 
in the Relation of a Journey (1615), gave an account of his travels 
in Turkey, Egypt, the Holy Land, and Italy. Lithgow, a Scotch 
traveler, claimed he had journeyed 36,000 miles on foot. His travels 
are described in Rare Adventures and Paineful Peregrinations 
(1632). A work condemning travel was published by Hall: Quo 
Vadis? A Just Censure of Travell (1617). Brome's play, The 
Antipodes, represented the manner in which a young man was cured 
of a madness brought on by reading too much about travels and 
voyages. 

Another form of travel was for educational purposes. It became 
quite the fashion for the sons of noblemen to travel on the Con- 
tinent, generally with a tutor. Of the custom of going to Italy, 
Ascham says {Schoolmaster, p. 71, ed. Arber) : T take goyng thither, 
and liuing there, for a yonge ientleman, that doth not goe vnder the 
keepe and garde of such a man, as both, by wisdome can, and 
authoritie dare rewle him, to be meruelous dangerous.' Cf. Har- 
rison's remark on the same subject (Furnivall, p. 81) : 'One thing 
onlie I mislike in them [the students], and that is their usuall 
going into Italic, from whense verie few without speciall grace doo 
returne good men, whatsoeuer they pretend of conference or 
practise.' 

Of travel, when not abused. Bacon writes (Essays, 'Travel') : 
'Travel, in the younger sort, is a part of education; in the elder, 
a part of experience.' And Shakespeare remarks (T. G. of Verona 
I. 1. 2) : 'Home-keeping youth have ever homely wits.' 

But the practice was overdone. Cf. Drake (p. 421) : 'To such a 
height had this fashion for travelling attained, that those who 
were not able to accomplish a distant expedition, crossed to France 
or to Italy, and gave themselves as many airs on their return, as if 
they had been to the antipodes' ; Gosson (p. 34) : 'We haue robbed 
Greece of Gluttonie, Italy of wantonnesse, Spaine of pride, Fraunce 
of deceite, and Dutchland of quaffing.' Bacon's sane remarks on the 



Act i] Notes 109 

subject are worth quoting (^Essays, 'Travel') : 'When a traveller 
returneth home, ... let his travel appear rather in his discourse 
than in his apparel or gesture; and in his discourse let him be rather 
advised in his answers, than forward to tell stories; and let it 
appear that he doth not change his country manners for those of 
foreign parts ; but only prick in some flowers of that he hath 
learned abroad into the customs of his own country.' 

See note to Ellis, Original Letters (4. 46, London. 1846) : 'In 
Queen Elizabeth's time, leave to go abroad for the purpose of travell- 
ing was difficult to obtain. Lord Burghley, too, when application 
for such permissions were made, would frequently call the party 
before him, and examine into what the applicant knew of his own 
country; and if found deficient in that knowledge would advise him 
to stay at home for the present.' A copy of 'Queen Elizabeth's 
Letter of Recall for those who had gone abroad without her leave' 
accompanies the note. 

In our text, Onion calls Valentine a 'lying traueller' (4.3.12). 
See Tempest 3. 3.26: 'Travellers ne'er do lie. Though fools at home 
condemn 'em'; Dekker, Seuen Deadly Sinnes {Pr. Wks. 2.35): 
'Thou art no Traueler; the habit of Lying therefore will not become 
thee, cast it off'; Old Fortunatus {Wks. 1.117). Cf. Chapman, 
Monsieur D' Olive {Wks. 1. 195) ; Donne, Letters {Wks. 6.318, ed. 
Alford, London, 1839). Traveling influenced apparel: Every Man 
Out 2.58: 

'Punt. Then he has travelled? . . . 

Car. As far as Paris, to fetch over a fashion, and come back 
again.* 

Hen. VIII 1.3. 31: 'Tall stockings. Short blister'd breeches, and 
those types of travel' ; As You Like It 4. i. z^ : 'Farewell, Monsieur 
Traveller : look you lisp and wear strange suits.' In our text. Juni- 
per remarks: 'A man is nobody, till he has trauelled' (2.7.34-5). 
See Nashe, Vnfortunate Traveller {Wks. 2. 297) : 'Hee is no bodie 
that hath not traueld'; Beaumont and Fletcher, Wild Goose Chase 
{Wks. 8. 121) : 'Till we are travell'd, and live abroad, we are cox- 
combs.' Some travelers assumed a solemn pose : Mdirsion, Ant. and 
Melt., Pt. I {Wks. I. 12, Ind.) : 'As solemn as a traveller'; Marston, 
Satires {Wks. 3-274) : 'With what a discontented grace Bruto the 
traveller doth sadly pace' ; As You Like It 4. i. 21 : 'A Traveller ! 
By my faith you have great reason to be sad : I fear you have sold 
your own lands to see other men's.' Traveling encouraged decep- 
tion: Nashe, Pierce Penilesse {Wks. 1.220): 'These [evil prac- 
tices], and a thousand more such sleights, hath hypocrisie learned 



no The Cafe is Alter d [Act i 

by trauailing strange Countries' ; cf. Carlo Buffone's advice to 
Sogliardo {Every Man Out 2. 107) : 'You must be impudent enough, 
sit down, and use no respect : when anything's propounded above 
your capacity, smile at it, make two or three faces, and 't is excellent ; 
they'll think you have travell'd.' See also Every Man Out 2. 83, 105 ; 
Cynthia's Revels 2.226, 240, 291, 319; Volpone 3-196, 202; Devil is 
an Ass 5. 23; Masque of Augurs 7. 413. In Puntarvolo {Every Man 
Out) and Amorphus {Cynthia's Revels), Jonson has drawn two 
characters which typify, in some measure, the abuses of travel. 

Beside Hakluyt's work, a compilation of travels was made by 
Purchas : Purchas his Pilgrimage (1613), and Hakluytus Posthumus 
(1625), the latter being a work made from Hakluyt's notes. In our 
own day, Harrisse (1830-1909) has done the same for voyages (chiefly 
American) taken during the 15th and i6th centuries. For the i6th 
and 17th centuries, we have Arber's English Garner (London, 1877- 
1890), a work which Beazley has used as the basis for a new edition 
under the same title (N. Y., 1903). The Travels of Sir John Mande- 
ville, printed in 1499 by Wynkyn de Worde, was popular in Jonson's 
day. It purports, as every one knows, to be the record of a journey 
to the far East. 

A good bibliography of sea-faring and travel is to be found in 
the Cambridge Hist. Eng. Lit. (4. 518). See also Howard, English 
Travellers of the Renaissance (London, New York, and Toronto, 
1914). 

1. 1. 144-5. All creatures here soiorning, etc. If this is a quota- 
tion, its source has remained undiscovered. A possible source may 
be in Chettle, Kind-hart's Dreame (iS93, p. 65) : 'But indeede there 
is a time of mirth, and a time of mourning.' Professor Cook sug- 
gested Ecclesiastes 3.1,4: 'To everything there is a season, and a 
time to every purpose under the heaven : . . . a time to weep, 
and a time to laugh ; a time to mourn, and a time to dance.' 

The same sentiment is expressed by Chapman, Bussy D'Ambois 
{Wks. 2.61); and Beaumont and Fletcher, Wild Goose Chase 
{Wks. 8.144-5). 

1. 1. 151-3. tomorrow shall be three months, she was scene 
going to heauen they say, about some fiue weekes agone. Cf. 
Every Man In i. 64: 'I was thinking of a most honourable piece of 
service, was performed to-morrow, being St. Mark's day, shall be 
some ten years, now'; ib. 1.83: 'Here's the remainder of seven 
pound since yesterday was seven-night'; Alchemist 4. 154: T heard 
it too, just this day three weeks, at two o'clock next morning' ; 
Staple of News 5. 179 : 'His father died on this day seven-night. 



Act i] Notes iii 

. . . At six o' the clock in the morning, just a week Ere he was 
one and twenty.' Cf. M. of Venice 2. 5. 25. 

1. 1. 156. I haue done but the parte of an Onion. The associa- 
tion of tears with an onion is very old. The Greek word for onion 
35 KpofjLfjivoi^, so called, because it caused the eyes to close {Kopas 
avnij.veiv) . See Aristophanes, Frogs 654: AI. Tc dfjra xXat'ets; AI. 
KpofiiMvuv 6a<ppaii'ofjLai. In Diogenes Laertius i. 83, Bias is requested 
to visit King Alyattes. His reply is : AXvoltttj KeXevu Kpoyiiiva 
€c6Uiv, {Icop Tw KKaieiv) . 

Columella, De Cultu Hortorum 123, speaks of 'lacrymosa cepa.' 
Lucilius, Sat. Rel. L. 5, has : 'Flebile cepe simul lacrimosaeque 
ordine talae' ; and Pliny, Hist. Nat. 19. 6 : 'Omnibus [cepis] etiam 
odor lacrymosus.' 

Shakespeare has several examples : All's Well 5. 3. 321 : 'Mine eyes 
smell onions; I shall weep anon'; Ant. and Cleo. 1.2. 176: 'The 
tears live in an onion that shall water this sorrow' ; cf . ib. 4. 2. 35, 
and T. of Shrew i. 126, Ind. See also Harvey, New Letter {Wks. 
1.292) : 'I pray God, the promised Teares of Repentance, proue not 
the Teares of the Onion vpon the Theater.' The N. E. D. quotes 
from Farquhar, Stage Coach (1.23), and Johnstone, Reverie (1.243, 
London, 1763). Another reference was made by Jonson in the 
Vision of Delight 7. 288. 

1.2.6-7. I am no changling, I am luniper still. Cf. Barth. 
Fair 4.374: 'I am resolute Bat, i' faith, still'; Magnetic Lady 6. 18: 
'Your ladyship is still the lady Loadstone' ; Tale of a Tub 6. 129 : 
'1 am old Rivet still' ; Masque of Christmas 7. 259 : T am old 
Gregory Christmas still' ; Underwoods 8. 407 ; 'He is right Vulcan 
still.' 

1.2.7. I keepe the pristmate* [pristinate]. Whalley says this is 
from Terence. He probably refers to Andria 817 : 'Pol Crito 
antiquum obtines'; cf. Hecyra 860: 'Morem antiquum atque 
ingenium obtines.' 

you mad Hieroglyphick. See Poetaster 2. 486 : 'Come, I love 
bully Horace as well as thou dost, I : 't is an honest hieroglyphic' ; 
Cynthia's Revels 2. 233 : 'It is a relic I could not so easily have 
departed with, but as the hieroglyphic of my affection.' Cf. Dekker, 
Guls Horne-booke (Nott, p. 29) ; and Old Fortunatus {Wks. 1. 163). 

I. 2. 15-6. Foe humour, a foolish naturall gift we haue in the 
iEquinoctiall. Cf. Every Man In 1.78: 

'Cob. Humour! . . . What is that humour? some rare thing, 
I warrant. 



112 The Cafe is Alter d [Act i 

Cash. Marry I'll tell thee, Cob : it is a gentleman-like manster, 
bred in the special gallantry of our time, by affectation; and fed 
by folly.' 

1. 2. 19. What fortuna de la Guerra. The Italian and Spanish 
for 'The fortune of war.' See L. L. Lost 5.2.533-4: 'But we will 
put it, as they say, to fortuna de la guerra.' 

The use of this expression by Juniper is probably not with a 
serious intent. Considering Valentine's recent return, it could be 
construed to mean something like our 'How is the world using you,' 
in which case, the comma inserted by Gifford after What, would 
be superfluous. But it is more likely that Juniper is continuing the 
flow of high-sounding words to which Valentine has already taken 
exception. 

1. 2. 20-1. O how pittifuUy are these words forc't. As though 
they were pumpt out on's belly. Cf. Every Man In i. 35 : 'He has 
not so much as a good phrase in his belly, but all old iron, and rusty 
proverbs.' In this connection, one is reminded of the fate of Cris- 
pinus {Poetaster 2.499-501). 

1. 2. 27-8. Goodwine sands. 'Dangerous shoals about 5 miles 
east of Kent, England, from which they are separated by the 
Downs.' — C. D. 'Goodwin Sands consisted at one time of about 
4,000 acres of low land fenced from the sea by a wall, belonging 
to Earl Goodwin or Godwin. William the Conqueror bestowed 
them on the abbey of St. Augustine, at Canterbury, and the abbot 
allowed the sea-wall to fall into a dilapidated state, so that the 
sea broke through in 11 00 and inundated the whole' (Brewer, Diet., 
p. 355)- Regarding this catastrophe. Stow (Annates, p. 134) says: 
'This yeere (iioo) as well in Scotland as in England, on the third 
day of November, the sea brake in ouer the bankes of the Thames 
and other Riuers, drowning many Townes, and much people, with 
innumerable numbers of Oxen and Sheepe : at which time, the Lands 
in Kent, that sometime belonged to Duke Godwine, Earle of Kent, 
were couered with sands and drowned, which are to this day called 
Goodwyne Sands.' 

Goodwin Sands is the subject of several proverbs: 'To set up 
shop on Goodwin Sands' meant to be shipwrecked (Hazlitt, Prov., 
1869, p. 430) ; cf. Lotteries of 1567 (Loseley Manuscripts, London, 
1836, p. 211, ed. Kempe) : 

Of many people it hath ben said. 

That Tenterden steeple Sandwich haven hath decayed. 

Ray (Prov., 1818, p. 144) has it: 'Tenterden (Tottenden) steeple's 
the cause of Goodwin Sands.' He adds : 'This proverb is used 



Act i] Notes 113 

when an absurd and ridiculous reason is given of anything in 
question.' 

An interesting explanation of the origin of Goodwin Sands is 
given in Hazlitt, Prov. (1907, p. 503; 1869, p. 438); and in Grose 
(p. 185). The explanation has two parts. The first is to explain 
the proverb quoted above from Ray, and is from Latimer, Select 
Sermons {Library of Old English Prose Writers 7. 57, ed. Young, 
Boston, 1832). The second is supplementary, and was made by 
Fuller, Worthies (2.65, London, 1662). An abbreviated account is 
to be found in Brewer (p. 882) : 'The reason alleged is not obvious; 
an apparent non-sequitur. Mr. More, being sent with a commission 
into Kent to ascertain the cause of the Goodwin Sands, called 
together the oldest inhabitants to ask their opinion. A very old man 
said, "I believe that Tenterden steeple is the cause" [Latimer]. 
This reason seemed ridiculous enough, but the fact is the bishop of 
Rochester applied the revenues for keeping clear the Sandwich haven 
to the building of Tenterden steeple [Fuller]. Another tradition is 
that a quantity of stones, got together for the purpose of strengthen- 
ing the sea-wall, were employed in building the church-tower, and 
when the next storm came, that part of the mainland called Good- 
win Sands was submerged.' 

This is the place where one of Antonio's ships is reported 
wrecked (M. of Venice 3.1.4). See also K. John S- 3. 9-11, and 
ib. 5. 5. 12-3 : 

And your supply, which you have wish'd so long. 
Are cast away and sunk on Goodwin Sands. 

See Jack Drum's Entertainment (Simpson, Sch. of Shak. 2. 141) : 
'He is a Quick-sand; a Goodwin; a Gulfe'; Appius and Virginia 
(4. 129, Dodsley, 1874) : 'And sailing by Sandwich he sank for his 
sin.' 

I. 2. 33-4. a pattent not to be sicke. At that time, all privileges, 
rights, or offices were conferred by a document known as a 'patent.' 
Regarding this practice, Nares says {s. v. Patent) : 'One of the 
great oppressions complained of under Elizabeth, James, and Charles 
I, was the granting of patents of monopoly. James, of his own 
accord, called in and annulled all the numerous patents of this 
kind, which had been granted by his predecessors; and an act was 
passed against them in 1624. But they were imprudently revived 
by Charles in 1631.' See Every Man Out 2.97: 'I can write myself 
gentleman now ; here's my patent, it cost me thirty pound' ; Hen. 
VIII 3. 2. 249 : 'And, to confirm his goodness, Tied it by letters- 



114 The Cafe is Alter d [Act i 

pattents.' For other references, see Pan's Anniversary 7.335; 
Richard II 2.1.202; 2.3.130; Ford, Lover's Melancholy (Wks. 
I. 19) ; Jack Drum's Entertainment (Simpson, Sch. of Shak. 2. 151). 

1.3.1. Omission of thou before dost (Franz 306; Matzner 2.28; 
Abbott 241). 

1.3,6. Alia Coragio. Florio has this to say of the use of alia: 
'Being ioined to any noune it makes the same an aduerbe of quahty 
or similitude.' 

1.3. II. Signior Francesco Colomia's man how doo's your 
good maister. Cf. Every Man In 1.83 (also 85) : 'Master Kitely's 
man, pray thee vouchsafe us the lighting of this match'; ib. i. 109: 
'Mr. Knowell's man' ; New Inn 5. 382 : 'Countess Pinnacia's man' ; 
Tale of a Tub 6.148: 'High constable's hind'; ib. 6.172 (cf. 173, 
174) : 'Turfe's wife, rebuke him not.' 

1. 3. 24. The preposition was sometimes placed at the end of a 
sentence (Abbott 424). 

1.3.25-6. the French . . . meane to haue a fling at Mil- 
laine. The pretext for the ambitions of France in Italy rested on 
her claims to Naples and Milan by right of inheritance. In 1264 
Naples was given in fief to Charles, Count of Provence and Anjou, 
by Urban IV, and taken by him in 1266 by force of arms. As to 
Milan, Valentina Visconti, widow of Louis, Duke of Orleans 
(brother of Charles VI), had been the last to inherit that duchy. 
See Guicciardini (1.35, 75; 2.194, I95, 206), and Cambridge Mod. 
Hist. (i. 108). 

The Sforzas seized Milan in 1450, but in 1500 it was taken from 
Lodovico by Louis XII. For the next 15 years, France retained 
Milan, using it as her headquarters in the campaigns against Venice 
and other states. Later in our play (i. 5. 181 ff.), an allusion is 
made to an incident in one of these. Cf. Encycl. Brit., nth ed. {s. v. 
Milan). 

1.3.28. Transposition of verb and subject after an emphatic 
word (Abbott 425; Franz 682). 

1.3.30. Maximilian of Vicenza. Maximilian I (1459-1519) 
figured prominently in Italian affairs, but the Maximilian of the 
play is not the Emperor. 

Vicenza. A town in Italy, the episcopal see of Venetia, and the 
capital of the province of Vicenza. It is 42 miles west of Venice 
by rail. For some time during the Middle Ages, Vicenza was an 
independent republic, but in 1405 it was subdued by the Venetians. 
Cf. Encycl. Brit, (nth ed.). 

!• 3. 32-5. Cf. Every Man In i. 83 : 'E. Know. Justice Clement, 
what's he? 



Act i] Notes 115 

Wei. Why, dost thou not know him? He is a city-magistrate, 
a justice here, an excellent good lawyer, and a great scholar; but 
the only mad, merry old fellow in Europe.' 

Excellent, an adjective used as an adverb (Matzner 3.90; Abbott 
I ; Franz 241 ) . 

1.3. 43. mad Capriccio. In a pamphlet directed against Nashe, 
Harvey says {Wks. 2. 109) : 'Sir Skelton and Master Scroggin were 
but Innocents to Signior Capricio, and Monsieur Madness.' Cf. 
Poetaster (2. 428) where Pantalabus has been substituted for 
Caprichio, the reading of the quarto of 1602. 

hold hooke and line. A cant expression which probably had its 
origin from the sport of fishing. See Chaucer, Troilus S-777'- 'To 
fisshen her, he leyde out hook and line' ; Mascall, A booke of Fish- 
ing with Hooke & Line (1590). Figuratively, the expression 
meant, 'That by which any one is attracted or ensnared and 
caught.' — N. E. D. See Lydgate, Bochas' (1554) 6.1. 146: 'Marius 
layd out hoke and lyne As I haue told, Metellus to confound.' The 
expression is used by Pistol, together with several bombastic phrases 
taken from plays of the period (2 Hen. IV 2.4. 171-2). After com- 
menting on this, Steevens (Shak. 9.251) quotes a couplet which he 
says was the frontispiece of an old ballad ('Royal Recreation of 
Joviall Anglers') : 

Hold hooke and line, 
Then all is mine. 

Cf. Dekker, Honest Whore, Pt. 2 (Wks. 2.138): 'He giue him 
hooke and line, a little more for all this'; Tusser, Husbandry (ed. 
Mavor, p. 24) : 

At noon if it bloweth, at night if it shine, 

Out trudgeth Hew Make-shift, with hook and with line. 

The editor's comment is : 'The hook and line is a cord with a hook 
at its end to bind up any thing with, and carry it away.' 

1.4.4. The to was sometimes omitted before the infinitive (Franz 
650; Matzner 3. i; Abbott 349). 

1.4.7. The was often elided before a vowel in reading, though 
not in writing (Abbott 462). 

I. 4. 8. I do this against my Genius. See Tylor, Primitive Cul- 
ture (1871, 2. 184) : 'In the Roman world, . . . each man had 
his "genius natalis," associated with him from birth to death, 
influencing his action and his fate, standing represented by its proper 
image, as a lar among the household gods. . . . The demon or 
genius was, as it were, the man's companion soul, a second spiritual 
ego.' 



ii6 The Cafe is Alterd [Act i 

Cf. Horace, Epist. 2. 2. 187 : 

Genius, natale comes qui temperat astrum, 
Naturae deus humanae, mortalis in unum 
Quodque caput, voltu mutabilis, albus et ater. 

Censorinus, De Die Natali 3. 16 : 'Genius est deus, cuius in tutela, 
ut quisque natus est, vivit. Hie sive quod ut genamur curat, sive 
quod una genitur nobiscum, sive etiam quod nos genitos suscipit ac 
tutatur, certe a genendo Genius appellatur.' For others, cf. TibuUus 
2.2.5; 4- 5-8; Virgil, G^or. 1.302; Horace, Epist. 1.7.94; 2.1.144; 
Od. 3. 17. 14; Persius 2.3; Seneca, Epist. 12.2; Pliny, Hist. Nat. 
2.7; Martianus Cap. 2.152. It will be remembered that daifioviop 
was the name by which Socrates called his 'genius.' Cf. Xenophon, 
Mem. 1. 1.2; Plato, Apol. 40 A; ThecBt. 151 A; Euthyd. 272 E. 

See Magnetic Lady 6. 69 : 'An infused kind of valour. Wrought 
in us by our genii, or good spirits'; Every Man Out 2. 51 ; Epiccene 
3.368. Another reference occurs later in our play (1.5.238). Cf. 
Com. of Errors 5. i. 332 ; T. Night 3. 4. 142 ; Troi. and Cres. 4. 4. 52 ; 
/. Ccesar 2. i. 66; 3. 2. 185 ; Macbeth 3. i. 56; Ant. and Cleo. 2. 3. 19; 
Greene, Orlando Fiirioso (Wks. 13. 128). 

Genius is a trisyllable (Abbott 479). 

1. 4. 9-20. These lines are found in Lamb's Specimens. His pre- 
fatory comment is, 'Presentiment of treachery vanishing at the 
sight of the person suspected.' 

1. 4. 15-6. His actions neuer carried any face 
Of change, or weaknes. 

Cf. Every Man In i. 72 : 

The manner he hath stood with, till this present, 
Doth promise no such change. 

1. 4. 17. Being may be read as a monosyllable. This is the usual 
reading of the word in this play (Abbott 470). 
I. 4. 18. Scan (Abbott 494, 456) : 

O here | he comes. | 

Ang. How now | sweet Lord, | whats the matter. 

1.4.20. Scan (Abbott 484, 508): 

Of my I straid thoughts. | Boy. | Bestow | your selfe. 
1. 4. 22. Scan (Abbott 462, 468) : 
Marry in | the gal | ery, where | your Lord | ship left him. 

1.4.25-8. See Every Man In 1.73: 



Act i] Notes 117 

Think I esteem you, Thomas, 
When I will let you in thus to my private. 
It is a thing sits nearer to my crest, 
Than thou art 'ware of. 

It may be of interest to note a similar passage in Marston, Eastward 
Hoe (Wks. 3.57-8), a work to which Jonson contributed: 
I must now impart 
To your approved love, a loving secret, 
As one on whome my life doth more relie 
In friendly trust then any man alive. 

1. 4. 30. one, whome my election hath design'd, etc. Cf . Ham- 
let's conversation with Horatio (Hamlet 3. 2. 68-70) : 

Since my dear soul was mistress of her choice 
And could of men distinguish, her election 
Hath seal'd thee for herself. 

1. 4. 31. The accent falls on the (Abbott 457): 'The seems to 
have been regarded as capable of more emphasis than with us.' 
1. 4. 32-3. I vrge not this t' insinuate my desert, 

Or supple your tri'd temper, with soft phrases. 

Cf . Every Man Out, Prol. 2. 14 : 

I do not this, to beg your patience. 
Or servilely to fawn on your applause. 

Insinuate is a trisyllable (Abbott 468) : 'Any unaccented syllable 
of a polysyllable (whether containing i or any other vowel) may 
sometimes be softened and almost ignored.' 

1. 4. 46. Arguing a happy mixture of our soules. Cf . Devil is 
an Ass 5.34: 'To seal the happy mixture made of our souls.' 

Arguing is read as a disyllabic. Words in which a light vowel is 
preceded by a heavy vowel or diphthong are frequently contracted 
(Abbott 470). 

1. 4. 48-50. Cf. Cynthia's Revels 2. 304 : 

The grace divinest Mercury hath done me. 
In this vouchsafed discovery of himself. 
Binds my observance in the utmost term 
Of satisfaction to his godly will. 

Unmatched for matchless (Franz 662). 
1. 4. 51. Scan (Abbott 462) : 

How ! fa I uours An | gello, 6 | speake not ] of them. 



ii8 The Cafe is Alterd [Act i 

1. 4. 58-9. Gifford arranged these lines in the form of prose. But 
they were evidently intended for verse, as Cunningham points out, 
and as Whalley had written them. Both Whalley and Gifford 
remove God from the position it holds in our text. The former's 
arrangement may be scanned : 

The count | your fa | ther calls | for you. | 
Pan. God ! 

1.4. 61. Scan (Abbott 458, 494) : 

That I I am ab I sent. Boy, | say I | come presently. 

1.4.63. Particulars is a trisyllable (Abbott 468). 
1. 4. 66-9. For metrical reasons, Gifford here arranged the text : 
Pati. I thought I heard my father coming hitherward, 
List, ha! 

Ang. I hear not anything. 
It was but your imagination, sure. 

1. 4. 73-4. This was arranged by Gifford, who followed Whalley 
in the case of Paulo's speech: 
Ang. Why, 
Has he no knowledge of it then? 

Pail. O no ; 
No creature yet partakes it but yourself. 

1.4.77. Scan (Abbott 481, 482): 

To whom I I would | reueile | it. Harke, | harke. 
1.4. 81-3. Alas, blame not them, 

Their seruices are (clock-like) to be set, 
Backward and forward, at their Lords command. 

See Every Man Out 2.68: 'Come, regard not a jester: It is in the 
power of my purse to make him speak well or ill of me.' 
Staple of News 5. 256 : 

They are a kind of dancing engines all. 
And set by nature, thus to run alone 
To every sound. 

Cf. /. Casar 4. i. 31-3. 

1.4.84-6. Cf. Every Man In i. 104: 

You know 
My brother Wellbred's temper will not bear 
Any reproof, chiefly in such a presence, 
Where every slight disgrace he should receive 
Might wound him in opinion and respect. 



Act i] Notes 119 

Impatience is a quadrisyllable (Abbott 479)- 

1.4.87-9. Cf. Every Man Out 2.38. 'His spirit is like powder, 
quick, violent; he'll blow a man up with a jest'; Catiline 4.255: 
She has a sulphurous spirit, and will take 
Light at a spark. 

Angela should be read as a disyllable (Abbott 468). 
I. 5. 1. Scan (Abbott 462, 468, 464) : 
Where should | he be, | trow? did | you looke ] in the armory. 

1.5.3. No forms the first foot (Abbott 482). As Count Fer- 
neze's exasperation and anger increase, he resorts to prose, return- 
ing occasionally to verse (Abbott 512 a). 

1. 5. 12. smels of fennell. Of flattery. Fennel was an emblem 
of flattery. See Robinson (fl. 1566-1584), Handefull of Pleasant 
Delites (Spenser Soc, 1871, p. 4) : 'Fenel is for flaterers, an euil 
thing it is sure"; Lyly, Sapho and Phao {Wks. 2.390) : 'Flatter, I 
meane lie; litle things catch light mindes, and fancy is a worme, 
that f eedeth first vpon f enell' ; Greene, Quip for an Upstart Courtier 
(,Wks. II. 214) : 'Vppon a banke bordring by, grewe womens weedes, 
Fenell I meane for flatterers.' Cf. Paradise of Dayntie Deuices {A 
bunche of herbes and flowers, p. 52, ed. Brydges, London, 1810) ; 
2 Hen. IV 2. 4. 267 ; Hamlet 4. 5. 180. 

In his Dictionary, Florio has finocchiare, and dare finocchio, mean, 
to flatter, the Italian word for fennel being finocchio. 

I. 5. 13. You haue bene in the garden it appeares. Because he 
smells of fennel. 

1.5.20. Patience is inter jectional, and is not to be read as a part 
of the verse (Abbott 512). 

I. 5. 23-5. Arranged by Gifford : 

Gaping on one another ! Now, Diligence, 
What news bring you? 

Oni. An't please your honour. 

1. 5. 28-9. Please his Honour. 'The quarto has, and rightly, 
"please your honour." ' — C. Cunningham must have had access to 
a copy of the quarto that differed from Whalley's, Gifford's, and 
the five that were consulted for this edition. All have 'please his 
Honour.' 

I. 5. 30. the hlevf order. Servants wore blue coats. See Every 
Man In 1.50: 'So must we that are blue waiters, and men of hope 
and service do.' In the Masque of Christmas 7. 261, New Year's 
Gift enters 'in a blue coat, serving-man like.' See also Dekker, 
Bel-man of London {Wks. 3. 149) : 'Backe comes this counter-feit 



I20 The Cafe is Alterd [Act i 

Blew-coate, running in all haste for his masters cloake-bag' ; Greene, 
Defence of Conni-Catching (Wks. 11.80) : 'He had attyred his owne 
brother very orderly in a blew coat, and made him his serving-man.' 

For other examples, see T. of Shrew 4. 1.93; i Hen. VI 1.3-47; 
Dekker, Guls Horne-booke (Pr. Wks. 2.261); Dekker, Honest 
Whore, Pt. 2 {Wks. 2.149); Middleton, Trick to Catch the Old 
One {Wks. 2.273, 292); Middleton, A Mad World {Wks. 3.256, 
273, 338); Nashe, Saffron-Walden {Wks. 3-7i, 95, 96, 97, I34) ; 
Seruingmans Comfort (pp. 107, 130, 134, 135) ; Marston, Eastward 
Hoe {Wks. 3.50). 

1.5.35. In a double negative, neither was often used for either 
(Franz 410; Matzner 3. 132). 

1. 5- 37. For an explanation of the idiom were best, see Franz 
627; Abbott 230, 352. 

1.5.45. I hope I am no spirit. Onion's reply to the count's 
Tempt not is of course a jocular reference to the prevailing super- 
stition that devils or evil spirits assumed human shape. Cf . Hamlet 
2. 2. 627-9 : 

The spirit that I have seen 
May be the devil : and the devil hath power 
To assume a pleasing shape. 

Com. of Errors 4. 3. 48 : 'Satan, avoid ! I charge thee, tempt me not.' 
Jonson's treatment of this subject in The Devil is an Ass is well 

known. The more general subject of witchcraft is dealt with in the 

Masques of Queens, and the Sad Shepherd. Another reference 

occurs later in our text (2.7.147-8; cf. note). 
The following works may be consulted : Spalding, Elizabethan 

Demonology; Harsnet, Declaration of Egregious Popish Impostures; 

Scot, Discoverie of Witchcraft ; Brand (3. 1-55) ; Thornbury (2. 

112-72). Dyer, Folk-Lore (pp. 49-54) gives many examples of 

possession in Shakespeare. 

1.5.52-3. pull his cloth ouer his eares. Strip him of his livery, 

discharge him. See Chapman, Gentleman Usher {Wks. 1.275): 
Then do your office maister Vsher, 
Make him put ofif his lerkin ; you may plucke 
His coate ouer his eares, much more his lerkin. 

See also Dekker, Guls Horne-booke {Pr. Wks. 2.261) : 'Curse and 
swear . . . because your men haue vsd you so like a rascoll in 
not waiting vpon you, and vow the next morning to pull their blew 
cases ouer their eares'; and his Satiromastix {Wks. 1.259): 
'Rather than thus to be netled, He ha my Satyres coate pull'd ouer 
mine eares, and be turn'd out a the nine Aluses Seruice.' Cf. Poe- 



Act i] Notes 121 

taster 2.509; Preston, Cambises (Manly, Pre-Shak. Drama 2. 
179-80; or Hawkins, Origin of Eng. Drama 1.276, 278); and 
Middleton, Trick to Catch the Old One (Wks. 2.272). 

I. 5. 59. sawcy companion. In Dekker, lests (Wks. 2. 293), there 
is a similar quibble. One tradesman says to another : 'I spend more 
mustard and vinegar in a yeare in my house then thou dost beefe 
in thine. Nay quoth the other, I belieue thee, for I alwaies tooke 
thee for a very saucie knaue.' 
I. 5. 64-6. Arranged by Gififord : 

So rude, so barbarous. 
Max. Most noble count. 

Under your favour 

Count F. Why, I'll tell you, signior. 

!• 5. 72-3. I am not now to learn how to manage my affections. 

Cf . Poetaster 2. 393 : 'I take it highly in snuff, to learn how to 
entertain gentlefolks of you, at these years, i' faith' ; ib. 2. 423 : 
'Come, Minos is not to learn how to use a gentleman of quality.' 
1- 5- 73-7- Cf. Staple of News 5. 170: 

See! 
The difference 'twixt the covetous and the prodigal ! 
The covetous man never has money, and 
The prodigal will have none shortly ! 

1.5.96. Why is not to be read as a part of the verse (Abbott 
512). 

1. 5. 108-9. his tongue has a happy turne when he sleepes. 
Cf. Poetaster 2.381: 'Scarce ever made a good meal in his sleep'; 
ib. 2.408: 'This gallant's tongue has a good turn, when he sleeps'; 
Catiline 4. 216: 

Gal. Methought 
She did discourse the best — 
Ful. That ever thou heard'st? 
Gal. Yes. 
Ful. In thy sleep ! 

Staple of News 5. 190 : 'One that never made Good meal in his 
sleep' ; New Inn 5. 332 : 'Never be off, or from you, but in her 
sleep.' 

1.5. no. / [Ay] forms the first foot (Abbott 482). 

1.5. 117. Her is a redundant object (Abbott 482; Franz 304). 

1. 5. 120. make two grieues of one. A proverbial expression 
(Heywood, p. 72) : 'Make not two sorrows of one.' Its meaning in 
our text is clear. However, see Othello 1.3.204: 



122 The Cafe is Alterd [Act i 

To mourn a mischief that is past and gone 
Is the next way to draw new mischief on. 

1.5. 121. Whom death marke out. Cf. Horace, Od. 1.4. 13-4: 
'Pallida Mors aequo pulsat pede pauperum tabernas Regumque 
turres'; also Od. 2.3.21-4; 3. i. 14-5. 

I. 5. 123-4. Max. Are your horse ready Lord Paulo, 

Pau. I signior the stay for vs at the gate. 

Cf . Poetaster 2. 383 : 

Ovid se. What, are my horses come? 

Lus. Yes, sir, they are at the gate without. 

I. 5. 133- Fortunatus hat. A magical wishing-cap. Fortunatus 
was 'the hero' of a popular European chap-book. When in great 
straits he receives from the goddess Fortune a purse which can 
never be emptied. He afterwards takes from the treasure-chamber 
of a sultan a hat which will transport its wearer wherever he 
desires. These enable him to indulge his every whim. The earliest 
known, and probably original, version was published at Augsburg 
in 1509. It has been retold in all languages, and dramatized by 
Hans Sachs in 1553 and by Thomas Dekker in 1600. Tieck in 
"Phantasus," and Chamisso in "Peter Schlemihl," have also utilized 
this legend. Uhland left an unfinished narrative poem, "Fortunatus 
and his Sons." ' — C. D. 

The hat is reminiscent of the helmet of Hades worn by Perseus 
when he vanquished Medusa, and of the 'Tarnkappe' of Siegfried in 
the Nibehmgen Lied. It is sometimes worn in conjunction with a 
cloak and a pair of boots : Chamisso, Peter Schlemihl; the English 
tale of Jack the Giant Killer; and the Norse legend of the Three 
Princesses of Whiteland (cf. Cox, Mythology i. 144). 

See Fortunate Isles 8. 69 : 

Where would you wish to be now, or what to see. 
Without the Fortunate Purse to bear your charges, 
Or Wishing Hat? 

Marston, Ant. and MelL, Pt. 2 {Wks. 1. 129) : 

I have old Fortunatus' wishing-cap, 
And can be where I list even in a trice. 

Beaumont and Fletcher, Honest Man's Fortune {Wks. 3.420): 
Oh, Fortunatus, I envy thee not 
For cap or pouch. 

In one of the 'Verses' prefixed to Coryat's Crudities (1.96), Jack- 
son, referring to the latter's speed as a traveler, says : 



Act i] Notes 123 

Perchaunce hee borrowed Fortunatus 
Hatte, for wings since Bladuds time 
Were out of date. 

The various versions of the story of Fortunatus may be seen 
in the English Tales and Romances (pp. 54-6, ed. Esdaile, London, 
1912). For a general study of the subject of mythology, see Gay- 
ley, Classic Myths in Eng. Lit.; Cox, Mythology of Aryan Nations; 
Miiller, Comparative Mythology; and Dasent, Popular Tales from 
the Norse. 

!• 5' 137-8- I haue such an odde prety apprehension of his 
humour. Cf. Poetaster 2.424: 'I have a pretty foolish humour of 
taking.' 

1. 5. 144. deprauer. Cunningham says that the quarto has 
prauer. But the copies of the quarto used for this edition have 
deprauer. 

I. 5. 144-7. Cf. Every Man In i. 192 (original version) : 'If this 
melancholy rogue (Lorenzo^ here) doe not come, graunt that he doe 
not turne Foole presently, and never hereafter be able to make a 
good lest, . . . but live in more penurie of wit and Invention.' 

learne to speake i' the nose. An affectation attributed to the 
Puritans. Cf. The Alchemist 4. 151-2: 'He has no gift of teaching 
in the nose that e'er I knew of.' Additional reference to the Puri- 
tans are to be found in the same play, Act 2, scene 5, and Act 3, 
scenes i and 2. Jonson's treatment of them in Bartholomew Fair 
is well known. In his edition of this play, Alden has a discussion 
of Jonson's attitude toward the Puritans (Yale Studies 25. xx ff.). 
For a general study of the subject, see Thompson, Controversy 
(Yale St tidies 20). 

1.5. 160. Wilke scans this line: 

Drown'd vp | with con | fluence | of griefe, | and melancholy. 

1. 5. 167. My and mine were used with little distinction before 
vowels (Abbott 237; Franz 326). Cf. 3. 4. 54. 

1. 5. 168. his strong, and reprecussiue sound. Cf. Cynthia's 
Revels 2.220: 'Salute me with thy repercussive voice.' 

His, the old genitive of it, was often used for its (Abbott 217, 
228; Franz 320). 

1.5. 169. Giuen is read as a monosyllable (Abbott 466). 

I. 5. 174. I had one other yonger borne then this. Plautus, 
Capt. 759-61 : 

Perdidi unum filium, 
Puerum quadrimum quern mihi seruos surpuit. 



124 The Cafe is Alterd [Act i 

Neque eum seruom umquam repperi neque filium : 
Maior potitus hostiumst. 

1.5. 178. 'A was frequently inserted before a numeral adjective, 
for the purpose of indicating that the objects enumerated are 
regarded collectively as one' (Abbott 87). Cf. Matzner 3.178; 
Franz 271. 

1. 5. 181-2. Chamont . . . surprised Vicenza. Charles d'Am- 
boise, more commonly known as Chamont d'Amboise or Chamont. 
He was the nephew of George (Bussy) d'Amboise, the Cardinal of 
Rouen, and in the campaigns of Louis XII in Italy he was the latter's 
leading general. Francesco Guicciardini says of him (History of 
Italy 5. 174) : 'He was an Officer of great Authority in Italy, for 
through the prevailing Interest of the Cardinal of Rouen, he admin- 
ister'd the Dutchy of Milan, and commanded the King's Armies in 
almost a despotic Manner. But his Abilities were much inferior to 
his great Employments ; for when he was constituted in the high 
Station of Captain-General, he neither knew the Arts of War him- 
self, nor trusted to those who understood them.' He died in 
February, 151 1. 

At Cambray, Dec. 10, 1508, was formed the so called 'League of 
Cambray,' composed of France, the Empire, the Pope, and Aragon. 
The purpose of the League was to make war upon Venice. Among 
other places, Maximilian, for the Empire, was to receive Vicenza. 
After the League's victory at Agnadella (Ghiaradadda), May 14, 
1509, Venice yielded Vicenza to Maximilian, but recovered it later 
the same year, only to lose it again to Chamont early in 1510. This 
is the only occasion where Chamont is directly concerned with the 
taking of Vicenza, but there is no conflict such as is described in 
our text. See Guicciardini (4.245, 250, 345, 362; 5.20-1); and 
Cambridge Mod. Hist. (i. 131-4). 

1. 5. 185. 'Mine is almost always found before "eye," "ear," 
&c., where no emphasis is intended' (Abbott 237). Cf. Franz 326. 

1.5.208-9. I haue some small occasion to stay: 

If it may please you but take horse afore. 

Cf. Every Man Out 2. 190: 'Brother, pray you go home afore (this 
gentleman and I have some private business).' 

The termination -ion was frequently pronounced as two syllables 
at the end of a line. Cases in the middle of a line were rare 
(Abbott 479). 

1. 5. 215. Scan (Abbott 481, 482) : 

Before I I can I demaund? I how now I loue. 



Act 2] Notes 125 

I. 5. 231. want that, and wanting that, want all. Taylor (Motto, 
PP- 503) uses the word want sixty- three times, and frequently with 
a quibble. See p. 51 : 

I want a Kingdome, and a Crowne to weare. 
And with that want, I want a world of care. 

1. 5. 239-40. and what deffects 

My absence proues, his presence shall supply. 

Cf. Sejanus 3. 20 : 

What his funerals lack'd 
In images and pomp, they had supplied 
With honourable sorrow. 

Tale of a Tub 6. 201 : 

I see the wench wants but little wit, 

And that defect her wealth may well supply. 

I. 5. 252. Sententious is a quadrisyllable (Abbott 479) . 

1.5.256-8. Cf. Every Man Out 2.102: 'He is turn'd wild upon 
the question; he looks as he had seen a serjeant.' 

I. 5. 258-9. scene the ghost ... In an vnsauory sheet. No 
doubt a sheet served as the ghost of many departed heroes, before 
it found its way into the laundry-bag. Cf. Every Man In i. 27 : 

'Cob. How know I ! Why, I smell his ghost ever and anon. 
Mat. Smell a ghost! O unsavory jest!' 

See also Warning for Fair Women, Induction (Simpson 2.243) : 

Then too, a filthy whining ghost, 

Lapt in some foul sheet, or a leather pilch. 

1. 5. 260-1. Gifford arranged the lines: 

Pau. I muse he spake not; 
Belike he was amazed, coming so suddenly, 
And unprepared. — Well, let us go. 

ACT II 
2. 1. 1-2. So now inough my heart, etc. Plautus, Aul. 79-80: 

Nunc defaecato demum animo egredior domo, 
Postquam perspexi salua esse intus omnia. 

2. 1. 2-3. what a could sweat 

Flow'd on my browes, and ouer all my bosome. 



126 The Cafe is Alterd [Act 2 

Cf. Poetaster 2. 371 : 

A freezing sweat 
Flows forth at all my pores, my entrails burn. 

Volpone 3. 184: 

And from his brain . . . 

Flows a cold sweat, with a continual rheum. 

2. 1. 6. Jaques is read as a disyllabic. The final e in French 
names is often retained in sound as well as in spelling (Abbott 489). 

2.1.7. Continuall is a trisyllable; vigelent, a disyllabic (Abbott 
468). 

2, 1. 13-4. I maruell why these gallant youths 

Spoke me so faire, and I esteemed a beggar. 

Plautus, Aid 1 13-7: 

Nam nunc quom celo sedulo omnis, ne sciant, 

Omnes uidentur scire et me benignius 

Omnes salutant quam salutabant prius. 

Adeunt, consistunt, copulantur dexteras : 

Rogitant me, ut ualeam, quid agam, quid rerum geram. 

2. 1. 15. Scan (Abbott 464, 468, 462) : 

The end | of flat | tery, is gaine, | or lech | ery. 

2. 1. 24. The first syllable of themselues is accented (Abbott 
492). For the omission of they before this word, see Abbott 20; 
Franz 308, 309. 

2.1.25. Ill reading this verse, the / may be disregarded (Abbott 
512). 

2. 1. 27. There is perhaps an ellipsis here of some phrase such as 
T would.' Almost the same words occur later (3.2. 52), and 'would' 
is used (Abbott 382). 
2.1.28-30. Cf. Volpone 3.167: 

Thou being the best of things, and far transcending 
All style of joy, in children, parents, friends, 
Or any other waking dream on earth. 

'The above lines are from the Bellerophon, a lost play of Euripides. 
Edit. Beck. vol. II., p. 432.' — G. 

O tis a sweet companion! kind and true. Cf. Greene, Groats- 
worth of Wit {Wks. 12. 109-10) : T tell thee Lucanio, I haue scene 
foure score winters besides the odde seauen, yet saw I neuer him 
that I esteemed as my friend, but gold, that desired creature, whom 
I haue deerely loued, and found so firme a friend, as nothing, to 
me hauing it, hath beene wanting.' 



Act 2] Notes 127 

2. 1. 30-1. O wondrous pelfe, That which makes all men false, 
is true it selfe. Cf. Volpone 3. 167 : 

Riches, the dumb god, that giv'st all men tongues, 

That can'st do nought, and yet mak'st men do all things. 

Crawford has shown that this appears in Bodenham's Belvedere, 
p. 128 (Notes and Queries 10. 11. 41-2) : 

Gold, that makes all men false, is true it selfe. 

2. 1. 36-7. I stole his treasure, And this his daughter. Cf . 

Hamlet 4. 5. 172-3 : 'It is the false steward, that stole his master's 
daughter.' In a note to this passage, Collier (Variorum ed., p. 
345) says: 'No such ballad is known.' Rolfe (Hamlet, p. 250) 
makes a similar statement. 

2. 1. 38. // was sometimes used for mascuhne and feminine pro- 
nouns. Of this custom, Jonson says (Grammar 9.287): 'The 
articles he and it are used in each other's gender. . . . It also 
followeth for the feminine.' See also N. E. D. (B. I, 2. d) : 'It 
often occurs where he, she, or that would now be preferred.' 

2. 1. 45-6. but hees ill bred. 

That ransackes tombes, and doth deface the dead. 

This is quoted in Bodenham's Belvedere (p. 67), as Crawford has 
shown (Notes and Queries 10. 11. 41-2) : 

He is not noble, but most basely bred, 

That ransacks tombes, and doth deface the dead. 

Cf. 2 Hen. IV 1. 1.98: 'And he doth sin that doth belie the dead.' 
2. 1. 50. Some verb of motion was to be supplied in sentences 

of this kind after shall, will, must, let (Matzner 2.46; Franz 530; 

Abbott 405). 
2.1.52-65. Rachel I must abroad, etc. Plautus, Aul. 89-100: 

Abi intro, occlude ianuam : iam ego hie ero. 
Caue quemquam alienum in aedis intromiseris. 
Quod quispiam ignem quaerat, extingui uolo, 
Ne causae quid sit quod te quisquam quaeritet. 
Nam si ignis uiuet, tu extinguere extempulo. 
Tum aquam aufugisse dicito, siquis petet. 
Cultrum, securim pistillum, mortarium, 
Quae utenda uasa semper uicini rogant, 
Fures uenisse atque abstulisse dicito. 
Profecto in aedis meas me absente neminem 
Volo intromitti. Atque etiam hoc praedico tibi, 
Si Bona Fortuna ueniat, ne intromiseris. 



128 The Cafe is Alterd [Act 2 

Gifford ( Wks. 6. 328) points out that this passage was used again 
by Jonson in The Devil is an Ass 5. 47 : 

You hear, Devil, 

Lock the street-doors fast, and let no one in. 

Except they be this gentleman's followers, 

To trouble me. Do you mark? . . . 

Nor turn the key to any neighbor's need ; 

Be it but to kindle fire, or beg a little, 

Put it out rather, all out, to an ash, 

That they may see no smoke. Or water, spill it; 

Knock on the empty tubs, that by the sound 

They may be forbid entry. Say, we are robb'd. 

If any come to borrow a spoon or so: 

I will not have Good Fortune, or God's Blessing 

Let in, while I am busy. 

2. 1.53. Thy receives the accent (Abbott 492). 

2.1.57. Thee used for thou (Abbott 212); cf. Matzner 2. 66; 
Franz 283. 

2. 1. 62. The was often omitted where it would now be necessary. 
See Gramtnar 9. 295 ; Matzner 3. 190-207 ; Franz 267, 268 ; Abbott 
89, 90. 

2. 1. 63. Read fire as a disyllable. This was frequently the pro- 
nunciation of many monosyllables ending in r or re, preceded by a 
long vowel or diphthong (Abbott 480). 

2. 1. 65. The more we spare . . . the more we gaine. Cf. the 
following proverbs: Hazlitt (1869, p. 343) •' 'Sparing is the first 
gaining'; HazHtt (1907, P- 375) : 'Saving is getting'; Ray (p. 105) : 
'Of saving cometh having'; Ray (p. 184): 'A penny saved is a 
penny got.' 

As pointed out by Crawford, this line is found in Bodenham's 
Belvedere, p. 128 (Notes and Queries 10. 11. 41-2): 'The more we 
spare, the more we hope to gain.' 

2. 2. 18. now you come neere him. Come to the point, touch on 
the matter which aflFects him most deeply. In z Hen. IV i. 2. 14, 
after the Prince has reminded Falstaff of some of his failings, the 
latter replies: 'Indeed, you come near me now, Hal.' Capulet, urg- 
ing the ladies to dance, remarks that she who hesitates, 'I'll swear, 
hath corns; am I come near ye now?' {Rom. and Jul. 1.5.22). See 
Lyly, Gallathea ( Wks. 2. 448) : 

'Ramia. What are you come so neere me? 
Tel. I thinke we came neere you when wee saide you loued.' 



Act 2] Notes 129 

Cf. T. Night 3.4.71; and Lyly, Midas (JVks. 3.129). 

2.2.42-3. Gifford's note on this subject, commenting on a pas- 
sage in The Devil is an Ass (5.63), reads: 'Liberties very similar to 
these were, in the poet's time, permitted by ladies, who would have 
started at being told that they had foregone all pretensions to 
delicacy.' Cf. Furnivall (Stubbes, pp. 267-8) for references to 
contemporary literature. 

2. 2. 44. Pastorella. See Glossary. 

2. 2. 47. The relative was often omitted : 'This omission of the 
relative may in part have been suggested by the identity of the 
demonstrative that and the relative that' (Abbott 244). Cf. Gram- 
mar 9. 295 ; Franz 348. 

2. 2. 51-3. lunip. youle contaminate me no seruice. 

Chris, Command thou wouldest say. 

Cf. Every Man In 1.27: 

'Cob. Why not the ghost of a herring cob, as well as the 

ghost of Rasher Bacon? 
Mat. Roger Bacon, thou would'st say.' 

Other references of this character which occur in Jonson's works 
will be found in the Introduction on p. xix. 

2. 3. — As pointed out by Cunningham, this scene is found in 
Lamb's Specimens. The prefatory comment is, 'The present 
humour to be followed.' 

2. 3. 5. say grace to euery bit of meate. The Puritans were 
strict in observing this rite. Stubbes says (p. iii) : 'We ought 
neuer to take morsell of bread, nor sope of drinke, without humble 
thankes to the Lord for the same.' In another place (pp. 215-28) 
he publishes prayers for sundry occasions. 

2. 3. 13-4. Sister, faith you take too much Tobacco, 

It makes you blacke within, as y'are without. 

Cf. Barth. Fair 4. 405 : 'The lungs of the tobacconist are rotted, 
, . . and the whole body within, black as her pan you saw e'en 
now, without.' 

Scan (Abbott 482, 484) : 

Sister, | faith | you take | too much | Tobacco. 

It was not unusual for ladies to smoke. In Dekker's Satiromastix 
{]Vks. I. 196), Asinius remarks: 'A Lady or two tooke a pype 
full or two at my hands, and praizde it for the Heauens.' Prynne 
{Histrio-Mastix, p. 363), commenting on the custom referred to 
by Gosson {Sch. Ab., ed. Arber, p. 35) of giving ladies apples 
at a play, adds, 'Now they offer them the Tobacco-pipe.' Ursula 



130 The Cafe is Alterd [Act 2 

in Barth. Fair (4.387) was an inveterate smoker. Fairholt (p. 69) 
quotes an incident from Pardee's History of the Court of Louis XIV 
in which the ladies of the court, 'wearied by the gravity and etiquette 
of the court circle/ had retired after supper to their own apart- 
ments, where they were later surprised smoking by the Dauphin. 
For other instances, see Fairholt's History (London, 1859). 

2.3.16. Of used in protestations or adjurations (Franz 518; 
Abbott 169). 

2. 3. 21. Hate [eat] when your stomacke serues. Cf . Greene, 
James IV (Wks. 13. 324) : 

My friend, it stands with wit 

To take repast when stomache serueth it. 

2. 3. 22. eleuen and sixe. The hours for meals. Harrison writes 
(2. 6. 166) : 'With vs the nobilitie, gentrie, and students, doo ordi- 
narilie go to dinner at eleuen before noone, and to supper at fiue, 
or betweene fiue and six at afternoone. The merchants dine and 
sup seldome before twelue at noone, and six at night especiallie in 
London. The husbandmen dine also at high noone as they call it, 
and sup at seuen or eight : but out of the tearme in our vniversities 
the scholers dine at ten.' Cf. Traill (3.392). 

See Beaumont and Fletcher, Knight of the Burning Pestle (Wks. 
2. 150) : 'I never came into my dining-room, but, at eleuen and six 
o'clock, I found excellent meat and drink o' the table' ; Dekker, 
Guls Horne-booke (Pr. Wks. 2. 237) : 'Let it be your vse to repaire 
thither [to a fashionable ordinary] some halfe houre after eleuen ; 
for then you shall find most of your fashion-mongers planted in 
the roome waiting for meate.' For other references, see Mucedorus 
3.2. 11; Beaumont and Fletcher, Woman Hater {Wks. i. 14) ; Dek- 
ker, Dead Tearme {Pr. Wks. 4. So) ; Middleton, Changeling {Wks. 
6.19). 

2.3.22-5. Cf. Every Man Out 2.99-100: 'I pursue my humour 
still, in contempt of this censorious age. . . . For mine own 
part, so I please mine own appetite, I am careless what the fusty 
world speaks of me.' 

2.3.26. Praecisianisme. In the i6th and 17th century, synonym- 
ous with Puritanism. The A^. E. D. quotes J. Jones, Bathes of Bath, 
1572 (3. 24) : 'The Puritanes, but better we may term them piuish 
precisians.' See Every Man In i. 73 : 'He's no precisian, that I'm 
certain of ; and Every Man Out 2. 137 : 

'T is now esteem'd precisianism in wit, 
And a disease in nature, to be kind 
Toward desert, to love or seek good names. 



Act 2] Notes 131 

In our play, Aurelia censures her sister for always maintaining a 
serious demeanor. This was considered characteristic of the Puri- 
tans: Marlowe, Faustus (Wks. 1.222) : 'I will set my countenance 
like a Precisian, and begin to speak thus' ; Greene, Repentance of 
Robert Greene {Wks. 12.176), says that, because of a 'solemne 
humour,' due to remorse for 'my wickednesse of life, . . . 
they fell vpon me in ieasting manner, calling me Puritane and 
Presizian, and wished I might haue a Pulpit.' In Cynthia's Revels 
(2.300), Arete's 'set face' evokes this comment: 'She is the 
extraction of a dozen Puritans, for the look.' 

Shakespeare does not use 'Precisian' or 'Precisianism' to char- 
acterize the Puritans. The nearest approach to it occurs in Meas. 
for Meas. i. 3. So, where the Duke remarks that 'Lord Angelo is 
precise.' 

For additional uses of the above words, see Arden of Faversham 
3. 2. 18; Nashe, Almond for a Parrat (Wks. 3. 345, 366, 372) ; Har- 
vey, Letter Book (p. 30, Camden Soc, 1884), and his Pierce's Super- 
erogation {Wks. 2.48, 159, 163). 

2. 3. 27. The first syllable of austere receives the accent {Gram- 
mar 9. 266). 

2.3-37- giue me nature. See Sidney, Defense of Poesy (ed. 
Cook 7. 1 1-3) : 'The moral philosopher standeth upon the natural 
virtue, vices, and passions of man; and "follow nature," saith he, 
"therein, and thou shalt not err." ' Professor Cook refers, in this 
connection, to Marcus Aurelius, Thoughts 7. 55 : 'Do not look 
around thee to discover other men's ruling principles, but look 
straight to this, to what nature leads thee, both the universal nature 
through the things which happen to thee, and thy own nature 
through the things which must be done by thee.' 

2. 4. 12. Whalley and Gifford divided this line after so. The 
first part completes the verse of the preceding line, and the rest is 
read with the two lines that follow. 

2.4.15. Maddam may be read as a monosyllable (Abbott 466). 

2. 4. 23. Whalley and Gifford divided this line after with you, 
completing the verses of the preceding and succeeding lines, respec- 
tively. 

2.4.30. That omitted after so (Franz 551). 

2. 4. 32-3. Whalley and Gifford arranged this : 

Equally pleasant. 
Phcen. Sir, so I do now. 

2.4.40. Read the termination -ion as two syllables (Abbott 479). 
2. 4. 44. a Decade in the art of memory. The Art of Memory 



132 The Cafe is Alterd [Act 2 

was a game of cards, and the decade refers to the 'ten-spot.' The 
A^". E. D. says the game is described in Cotton's Complcat Gamester 
(1709, p. loi). Seymour published a work with the same title, 
including in it parts II and III of Cotton's treatise. In this (Lon- 
don, 1734, p. 38; 1739, p. 230), the game is explained thus: 'This is 
rather a Sport, than a Game. Money may be won at it, but it is 
most commonly the Way to act the Drunkard. It is the best when 
many play at it; for with few it is no Sport at all: for Example; 
As many Persons as do play, so many Cards trebled must be thrown 
down on the Table, with their Faces upwards ; which every one 
must take Notice of, and endeavor to register them in his Memory. 
Then the Dealer must take them all up, and shuffling them, after 
cutting, deals to every one 3 a-piece. 

'The first, it may be, calls for a King, which must be laid on the 
Table, with his Face downwards by him who hath it in his Hand ; 
the next, it may be, calls for a 10 of Spades, which must be laid 
down in like manner, and so it goes round ; now if any one calls 
for what is already laid down, if they play for Liquor, he must 
then drink a Glass; if for Money, he must then pay a Stake, what- 
ever the Sum be they play for. 

'This Sport wholly depends on the Memory; for want of which 
a Man may lose both his Money and his Understanding.' 

The Art of Memory was also a system of mnemonic devices. 
Such a system is explained by Saunders {Physio gnomie, pp. 2>7i-7, 
London, 1671). The A'^. E. D. refers to Copeland {The Art of 
Memory, 1540?). See Nashe, Vnfortunate Traveller {Wks. 2. 
299) : 'It is not possible for anie man to learne the Art of Memorie 
. . . except hee haue a naturale memorie before.' A humorous 
allusion occurs in Beaumont and Fletcher, Thierry and Theodoret 
{Wks. I. 153) : 'He, mistaking the weapon, lays me over the chaps 
with his clubfist, for which I was bold to teach him the art of 
memory.' See also Cowley, Poems {The Mistress, 'Soul,' p. 84, ed. 
Waller, Cambridge, 1905). 

Memory may be read as a disyllable (Abbott 464, 468). 

2. 4. 50. Scan (Abbott 494, 468) : 

And fits I them one | ly, that | are nought | but cerimony. 

2- 4' 52-5. will you be my refuge? ... be my Plouer. Cf. 

Every Man Out 2. 140, 141 : 'He is my Pylades, and I am his 
Orestes' ; 'He shall be your Judas, and you shall be his elder-tree' ; 
'Let him be Captain Pod, and this his motion' ; 'You shall be Hol- 
den, and he your camel'; 'You shall be his Countenance, and he 
your Resolution'; Cynthia's Revels 2.240, 296: 'I call madam 



Act 2] Notes 133 

Philautia, my Honour; and she calls me, her Ambition'; 'You 
shall be no more Asotus to us, but our goldfinch, and we your 
cages' ; Poetaster 2. 497 : 'Be his ^sculapius, . . . and he shall 
be your patient' ; Epiccene 3. 393 : 'Before, I was the bird of night 
to you, the owl ; but now I am the messenger of peace, a dove' ; 
Barth. Fair 4. 495 : 'I'll for ever be thy goose, so thou'lt be my 
gander'; Devil is an Ass 5.92: '[I would] be your blackbird, . . . 
your throstle' ; New Inn 5. 337 : 'Thou shalt be the bird To sovereign 
Prue, . . . her Fly.' 
2. 4. 58-9. lie borrow Cupids wings. 

Masse then I feare me youle do strange things. 

Cf. Masque of Owls 8. 53 : 

And though he have not on his wings. 
He will do strange things. 

Rom. and Jul. 1.4. 17: 

You are a lover; borrow Cupid's wings. 

For the reflexive use of feare, see Matzner 2.65; Abbott 296; 
Franz 628, 307. 

2. 5. 10. Single lines with two or three accents are often found 
at the beginning or end of a speech (Abbott 511). 

2. 5. II. My and other possessive adjectives, when unemphatic, 
were sometimes transposed (Abbott 13; Franz 328). 

2. 5. 19. Daughters take heede of him, he's a wild youth. Cf . 
Horace, Sat. i. 4. 85 : 'Hie niger est, hunc tu, Romane, caveto.' See 
Every Man Out 2. 38 : 'O, he's a black fellow, take heed of him' ; 
Poetaster 2.495: 'These be black slaves; Romans, take heed of 
these.' 

2. 6. 1-3. This speech was arranged by Gifford so as to read 
'How now . . . with you' as a verse. 

'In the quarto, throughout the ensuing dialogue, the Count calls 
his steward Christopher simply, not Christophero, which I should 
think was intended, and ought to have been retained.' — C. It is 
apparent, however, that the change was made for metrical reasons. 

2.6.6. At used for from (Franz 462). 

2. 6. 8. Here Christopher should be read as written, and simplicity 
should be regarded as a trisyllable (Abbott 468). 

2.6.18. Maintenance is a disyllabic (Abbott 468). 

2.6. 19. The first syllable of discharge receives the accent (Gram- 
mar 9. 266; Abbott 492). 

2.6.23-4. thou hast euer been Honest and true, etc. Plautus, 
Aul. 215-6: 



134 The Cafe is Alter d [Act 2 

Certe edepol equidem te ciuem sine mala omni 

malitia 
Semper sum arbitratus et nunc arbitror. 

Cf. M. of Venice 3. 4. 46-7 : 

As I have ever found thee honest-true, 
So let me find thee still. 

2.6.29, Who wouldst thou haue, etc. Plautus, Aid. 170-2: 
Eun. Die mihi, quaeso, quis east quam uis ducere 
uxorem ? Meg. Eloquar. 
Nouistin hunc senem Euclionem ex proxumo pauperculum? 
Eun. Noui : hominem baud malum mecastor. 

Scan (Abbott 456) : 

Who wouldst I thou haue | I prithee? | 

Chris. Rachel | de prie. 

Who for whom (Abbott 274; Franz 334). 

2. 6. 40-1. And if I did not see in her sweet face 

Gentry and noblenesse. Cf . Poetaster 2. 398 : 
'I see, even in her looks, gentry, and general worthiness.' 

2. 6. 44-5. For where loue is he thinke his basest obiect 
Gentle and noble. Cf. M. N. Dream i. i. 232-3 : 

Things base and vile, holding no quantity, 
Love can transpose to form and dignity. 

Also Hazlitt (1907, p. 304) : 'Love sees no faults.' 

2. 7. 6. bastinado the poore cudgell. The first use of bastinado 
given by the A'^. E. D. was in 1577, and as a noun. As a verb, the 
first example is dated 1614. Thus its use as a verb in our text 
antedates this by several years. It was used thus in Every Man In 
(i. 116), and in Poetaster (2.497), acted in 1598 and 1601 respec- 
tively. 

The same quibble occurs in Every Man In i. 35 : 

'Mat. He brags he will give me the bastinado, as I hear. 
Bob. How! he the bastinado! how came he by that word, trow? 
Mat. Nay, indeed, he said, cudgel me; I term'd it so, for my 
more grace.' 

Also in K. John 2. 1.463: 'He gives the bastinado with his tongue: 
Our ears are cudgell'd.' 

2.7.8-10. I haue the phrases . . . fitting the mistery of the 
noble science. Cf. Every Man Out 2.50-1: 'I have the method for 



Act 2] Notes 135 

the threading of the needle . . . and all the humours incident 
to the quality.' 

Epitaphs. Juniper of course means epithets. Cf. Cynthia's 
Revels 2. 298 : 

'Gel. [He] calls me at his pleasure I know not how many cocka- 
trices, and things. 

Mor. In truth and sadness, these are no good epitaphs, Anaides, 
to bestow upon any gentlewoman.' 

Mrs. Malaprop's remark in Sheridan, Rivals (3. 3) is familiar : 'Sure, 
if I reprehend any thing in this world, it is the use of my oracular 
tongue, and a nice derangement of epitaphs.' 

the noble science. During the reign of Henry VHI, a corpora- 
tion was formed under the name of 'The Noble Science of Defence.' 
It provided for a specified course of training in fencing, and con- 
ferred degrees. Upon entrance, the candidate was known as a 
'Scholar.' Later at a public contest, if successful, he became a 
'Provost of Defence.' At a final trial, he was declared a 'Master of 
Defence' (Strutt, pp. 259-64). In Cynthia's Revels (2.313) there is 
a burlesque imitation of these public trials of skill. 

See Traill (3. 574) : 'In 1565 the Queen issued a proclamation to 
limit and control the "schools of fence," in which "the multitude 
and the common people" were being taught "to play at all kinds 
of weapons," and the size of the rapier and dagger was regulated.' 
Gosson (p. 46) remarks: 'The cunning of Fencers [is] applied to 
quarrelling' ; and later (p. 47) : 'Fencing is growne to such abuse, 
that I may wel compare the Scholers of this Schoole to them that 
prouide Staues for their owne shoulders.' 

Later in the scene (1. 14), 'maisters of defence' are mentioned. 
Cf. Every Man In i. 113: 'Did you ever prove yourself upon any of 
our masters of defence here' ; Merry Wives i. i. 295 ; Beaumont and 
Fletcher, Knight of the Burning Pestle {Wks. 2. 155) ; Dekker, 
Honest Whore, Pt. i {Wks. 2.63); Dekker, Setien Deadly Sinnes 
(Pr. Wks. 2.28). 

That Jonson had no fault to find with fencing per se may be 
gained from his Epigram To William Earl of Newcastle 9. 15. But 
for the style of fencing then in vogue he had small sympathy. See 
Every Man In 1.35, 113, 126; Every Man Out 2. loi ; Cynthia's 
Revels 2.313; Epicane 3. 435; Alchemist 4.100; Devil is an Ass 
5. 78; New Inn 5. 339, 388; Magnetic Lady 6. 12; Pan's Anniversary 
8.42. 

For other references, see Rotn. and Jul. 2.4.21-7; 3.1.88; As 
You Like It 5. 4. 48-108; Merry Wives 2.3.26; L. L. Lost 1.2. 184; 



136 The Cafe is Alterd [Act 2 

Beaumont and Fletcher, French Lawyer (Wks. 3. 483), King and No 
King (Wks. 2.244); Marston, Scourge of Villainy (Wks. 3.373). 

For a work on fencing, see Castle, Schools and Masters of Fence 
(London, 1885) ; cf. Saviolo, Practise (London, 1595). 

2. 7. 16. Vtopia. 'England.' — G. 

2. 7. 28-9. the publicke Theater. Plays were performed in four 
kinds of places : the converted inn-yards ; the buildings used also 
for bull- and bear-baiting; the public theatres; and the private 
theatres (Fleay, Hist, of Stage, p. 146). A list of the public and 
private theatres of Jonson's day, as given by Lawrence (pp. 25-6), 
follows : 

PUBLIC. PRIVATE. 

The Theatre (1576-1598). ' Paul's (i 581-1608). 

The Curtain (1576-1630). Blackfriars (1596-1655). 

Newington Butts (1586-1603). Whitefriars (1603-1621). 

The Rose (1592-1603). Cockpit or Phoenix (1617-1649). 

The Swan (1595-1635). Salisbury Court (1629-1649). 

(First) Globe (159&-1613). 

(First) Fortune (1600-1621), 

Red Bull (1600-1663). 

The Hope (1614-1656). 

(Second) Globe (1614-1644). 

(Second) Fortune (1623-1649). 

Cf. the list published by Fleay, Stage (pp. 367-8) ; and Collier 
(3. 81-139). The Globe and the Blackfriars were the best of their 
class in respect to the character of the audience, and the eminence 
of the dramatists whose plays they produced. Plays of Shake- 
speare and Jonson were produced in each. For comfort and select- 
ness of audience, the Blackfriars surpassed the Globe. 

The private theatres had many peculiarities that distinguished 
them from the public theatres. They were smaller, and were covered 
with a roof. The prices of admission were higher, and the audience 
was more select. Performances began later, were shorter, and were 
conducted partly by artificial light. Traill (3. 570) says that private 
theatres in dwelling-houses had evening performances. The pit was 
furnished with benches, whereas in the public theatres the 'ground- 
lings' stood throughout the performance. Spectators were permitted 
to sit on the stage. The boxes were kept locked, and were rented 
for the season. There was not so much horse-play on the part of 
the players. The spectators conducted themselves with more 
decorum. The music was of a high class, and in great contrast to 
the 'jigs' in the public theatres. 



Act 2] Azotes 137 

The audiences in the public and private theatres are compared in 
the Prologue to The Doubtful Heir (Shirley). For works dealing 
with the characteristics of the two classes of theatres, see Law- 
rence (s. V. Blackfriars) ; Baker (pp. 18, 19, 23, 24, 27) ; Collier 
(3.140-5); Thornbury (2.8); Wilkes (p. 210); Schelling (i. 
160-2) : Fleay, Hist, of Stage (p. 153). See also works on the 
subject by Chambers; Genest; Ordish, Theatres; Albright, Shake- 
spearean Stage (N. Y., 1909) ; Cambridge Hist. Eng. Lit. (6. 10). 
In the last, there is a valuable bibliography. Cf. Lawrence, 'Evo- 
lution and Influence of the Elizabethan Playhouse' (Jahrbuch 47. 
18-41) ; Wallace, The Children . . . at Blackfriars. 

2.7.36-7. are their plaies? as ours are? extemporall? A refer- 
ence to the improvised comedy which had its beginning in Italy 
about the middle of the sixteenth century, and which is generally 
known as the commedia dell' arte all' improvviso. The outline of 
the plot, with the various stage-directions, was carefully written 
out, but its development through dialogue and action was left to 
the ingenuity of the players. The humor of this type of comedy 
was of a boisterous and farcical nature. 

See Middleton, Spanish Gipsy (Wks. 6. 195) : 

There is a way 
Which the Itahans and the Frenchmen use, 
That is, on a word given, or some slight plot. 
The actors will extempore fashion out 
Scenes neat and witty. 

Brome, City Wit (Wks. i. 364) : 'It should be done after the fashion 
of Italy by our selues, only the plot premeditated to what our aim 
must tend: Marry the Speeches must be extempore'; Kyd, Spanish 
Tragedie 4. i. 163: 

The Italian Tragedians were so sharpe of wit 

That in one houres meditation 

They would performe any thing in action. 

In Brome, Antipodes (Wks. 3.271), 'Byplay' is represented as an 
extempore actor. Near the end of Act 4 of the same play, Letoy 
says (p. 312) : 'We now give over The play, and doe all by Extem- 
pore.' Cf . I Hen. IV 2. 4. 308 : 'Shall we be merry ? shall we have 
a play extempore?' 

In Volpone (3.215) mention is made of 'Pantalone,' one of the 
stock characters of the commedia dell' arte. As Dr. Smith suggests 
(see below), the mountebank performance here (pp. 203-14) is no 
doubt an echo of the Italian improvised drama. Cf. As You Like It 



138 The Cafe is Alterd [Act 2 

2.7.158; T. of Shrew 3.1-37; Nashe, Pierce PenUesse (IV ks. 
I. 215). 

In England, it seems to have been the custom after the perform- 
ance of a play to introduce extemporal verse : Nashe, Pierce 
PenUesse (Wks. 1.244): 

Like the queint Comsedians of our time, 
That when their Play is doone do fal to ryme. 

Dekker, Strange Horse-Race (Pr. Wks. 3. 340) : 'I haue often 
seene, after the finishing of some worthy Tragedy, or Catastrophe 
in the open Theaters, that the Sceane after the Epilogue hath beene 
more blacke (about a nasty bawdy Igge) then the most horrid Sceane 
in the play.' Of the better class of improvisers, Tarleton, Wilson, 
and Kemp are often mentioned. See Stow, Annales (1631, p. 698) ; 
Harvey, Letters {Wks. i. 125), and Foure Letters (p. 168) ; Brome, 
Antipodes {Wks. 3.260). 

The following works will be valuable for a study of the subject: 
Memoirs of Carlo Gossi (tr. Symonds, London, 1890) ; Paget 
(Vernon Lee), Studies of the Eighteenth Century in Italy (Chicago, 
1908) ; Moland, Moliere et la Comedie Italicnne (Paris, 1867) ; 
Scherillo, La Commedia dell' Arte in Italia (Turin, 1884), and La 
Vita Italiana ncl Seicento (Florence, 1897) ; Wolfif, 'Shakespeare 
and die Commedia dell' Arte' {Jahrbuch 46. 1-20). 

The latest work on the subject is by Dr. Winifred Smith, The 
Commedia Dell' Arte {Columbia Studies in English, N. Y., 1912). 
It contains a good bibliography. See also the new edition of Flogel's 
Geschichte des Grotesk-komischen (1788), brought out by Bauer (2 
vols., Munich, 1914) : 1.40-70. 

2. 7. 44. the sport is at a new play. The occasion of the presen- 
tation of a new play must have been a trying ordeal for the author. 
The hostile reception that was given to some of Jonson's plays, 
especially Sejanus and The New Inn, is well known. In his dedica- 
tion to Lord Aubigny, when he published the former in 1616, Jonson 
says (3. 3) : 'It is a poem, that, if I well remember, in your lord- 
ship's sight, suffered no less violence from our people here, than 
the subject of it did from the rage oi the people of Rome.' Of 
The New Inn, he says in a note prefaced to his famous Ode (5. 
415) : 'The just indignation the author took at the vulgar censure 
of his play, by some malicious spectators, begot this following Ode 
to himself.' 

Several features were characteristic of first performances. They 
seem to have been well attended, either because of genuine interest 
or because of the expectation of witnessing the rough treatment 



Act 2] Notes 139 

sometimes given a new play. Cf. Dekker, Dcuils Anszver (Pr. Wks. 
2. 118) : 'It was a Comedy, to see what a crowding, as if it had beene 
at a new Play.' Dekker's advice to a playgoer on such an occasion 
will be remembered (Guls Horne-hooke, Pr. Wks. 2. 254) : 'Mary, 
if either the company, or indisposition of the weather binde you to 
sit it out, my counsell is then that you turne plain Ape, . . . 
mewe at passionate speeches, blare at merrie, finde fault with the 
musicke, whew at the childrens Action, whistle at the songs.' That 
Sejanus was greeted in this manner is evident from a poem written 
at that time by Fennor, and quoted by Gifford, in which the follow- 
ing lines appear {Z-i) '■ 

They screwed their scurvy jawes, and lookt awry. 
Like hissing snakes adjudging it to die. 

It is commonly known that the admission to a new play was 
double the usual price. Collier (3. 214) quotes from Marmion's 
Fine Companion: 'A new play, and a gentleman in a new suit claim 
the same privilege — at their first presentment their estimation is 
double.' See also note to i. i. 104. Cf . Hen. VIII 5. 4. 63-7 ; Brome, 
Antipodes {Wks. 3.259); Beaumont and Fletcher, Knight of the 
Burning Pestle {Wks. 2. 127, dedication by Burre). 

2. 7. 51-2. will be as deepe myr'd in censuring as the best. Cf . 
Cynthia's Revels 2.213: 'As some one civet-wit among you, that 
knows no other learning, than the price of satin and velvets ; nor 
other perfection than the wearing of a neat suit; and yet will 
censure as desperately as the most profess'd critic in the house, 
presuming his clothes should bear him out in it' In the Discoveries 
(9. 158) Jonson remarks : 'But the wretcheder are the most obsti- 
nate contemners of all helps and arts ; such as presuming on their 
own naturals (which perhaps are excellent) dare deride all diligence, 
and seem to mock at the terms, when they understand not the 
things, thinking that way to get off wittily, with their ignorance.' 
He had used almost the same words in The Alchemist (4.6). 

Dekker holds this class of critics up to ridicule in the chapter 
on 'How a Gallant should behaue himself in a Play-house' {Guls 
Horne-booke, Pr. Wks. 2.246). 

2.7.62. Him for himself (Franz 307; Abbott 223). 

2. 7. 63. in artibus magister. Harrison (p. 79) gives the follow- 
ing requirements for the degree of Master of Arts: 'From thence 
also [the receipt of the Bachelor's degree] giuing their minds to 
more perfect knowledge in some or all the other liberall sciences, 
& the toongs, they rise at the last (to wit, after other three or 
foure yeeres) to be called masters of art, ech of them being at that 



I40 The Cafe is Alterd [Act 2 

time reputed for a doctor in his facultie. if he prof esse but one 
of the said sciences (besides philosophie) or for his generall skill, 
if he be exercised in them all.' 

Dekker, Guls Home-boo ke (Nott, p. 21), makes reference to the 
gallant, who, 'haunting tauerns, desires to take the bacchanalian 
degrees, and to write himself in arte bibendi magister.' Cf. Staple 
of News 5. 180; Fortunate Isles 8. 71. 

2. 7. 68-9. there are two sorts of persons that most commonly 
are infectious to a whole auditory. Cf. Every Man Out 2. 19 : 

For in such assemblies 
They are more infectious than the pestilence. 

2. 7. 73-6. Notice the change in the verb from singular to plural. 

For a plural verb used after the singular of a collective noun, see 

Franz 674, 675. Cf. M. of Venice i. i. 88: 'There are a sort of men.' 

these will hisse any thing that mounts aboue their grounded 

capacities. Cf. Cynthia's Revels 2.214: 'A fourth miscalls all by 

the name of fustian, that his grounded capacity cannot aspire to.' 

2.7.80. Caprichious? stay, that word's for me. Cf. Staple of 

News 5.165: 'Emissaries? stay, there's a fine new word.' Other 

examples of this character will be found in the Introduction, p. xix. 

2.7.82. Never was sometimes used instead of ever (Matzner 

3.130; Abbott 52; Franz 408). 

2.7.83-8. sit disperst, etc. This speech is found, in pait, in 
Every Man Out 2. 19 (cf. pp. 18, 86) : 

How monstrous and detested is't, to see 

A fellow, that has neither art nor brain. 

Sit like an Aristarchus, or stark ass, 

Taking men's lines, with a tobacco face, 

In snuff, still spitting, using his wry'd looks. 

In nature of a vice, to wrest and turn 

The good aspect of those that shall sit near him, 

From what they do behold ! O, 't is most vile. 

See Cynthia's Revels 2.213: 'Another, whom it hath pleased nature 
to furnish with more beard than brain, prunes his mustaccio, lisps, 
and, with some score of affected oaths, sweare down all that sit 
about him.' In Satiromastix (Wks. 1.62), Dekker has Horace (sup- 
posed to be Jonson) swear 'not to sit in a Gallery when your 
Comedies and Enterludes haue entred their Actions, and there 
make vile and bad faces, at euerie lyne, to make a Gentleman haue 
an eye to you.' 

Jonson frequently quoted from his works, or reprinted passages 
in other places in his works: Poetaster 2.516: 'Strength of my 



Act 2] Notes 141 

country,' etc. {Epigram 108 8. 211); Volpone 3.247: 'Come, my 
Celia' {Forest 8. 255) ; Alchemist 4. 6 : 'For they commend writers' 
(Discoveries 9. 155) ; Devil is an Ass 5.64: 'Do but look' (Under- 
woods 8.296) ; Staple of News 5. 177: 'But it is the printing I am 
offended at' (News from New World 7. 337) ; ib. 5. 241 : 'Send in 
an Arion' (Neptune's Triumph 8. 29) ; ib. 5. 252 : 'Oracle of the 
Bottle' (Neptune's Triumph 8. 25) ; cf. Devil is an Ass 5. 47 : 'Lock 
the street-doors fasf (2.1.53). Some of these were pointed out 
by Gilford and Cunningham. 

instead of a vice. The Vice was a character in the moralities, 
and in many of the comic interludes. His name varied with the 
nature of his part in the play: Ambition, Covetousness, Fraud, 
Hypocrisy, Infidelity, Iniquity, Sin, Haphazard, Merry Report, 
Nichol Newfangle. The Devil and the Vice sometimes appeared in 
the same play (Lupton, All for Money) ; sometimes the Devil was 
alone (Ingelend, Disobedient Child) ; or the Vice was alone (Nice 
Wanton). In The Devil is an Ass, Jonson introduces both charac- 
ters, and his satirical treatment of each is in accord with judgments 
previously passed on them (Volpone 3.158; Staple of News 5. 
186-7). His views have been discussed by Johnson in his edition of 
the above play (Yale Studies 29. xxiii-xl). 

The following are some examples: In The Devil is an Ass (5. 10), 
Pug, before descending to the earth, asks Satan for a Vice as a 
companion : 

Sat. What Vice? What kind wouldst thou have it of? 
Pug. Why any: Fraud, Or Covetousness, or lady Vanity, 
or old Iniquity; 

Epigram 115, Town's Honest Man 8.218: 

Being no vicious person, but the Vice 
About town; and known too, at that price. 

Every Man Out 2. 19; Conversations 9.400. See also Richard III 
3. 1. 82 : 'Like the formal vice, Iniquity' ; T. Night 4. 2. 132-8 : 
I'll be with you again. 
In a trice, 

Like to the old Vice, 
Your need to sustain ; 
Who, with dagger of lath. 
In his rage and his wrath, 
Cries, ah, ha ! to the devil. 

Hamlet 3.4.98; 2 Hen. IV 3.2.347. See stage-direction, Histrio- 
Mastix (Simpson, Sch. of Shak. 2.40); and Stubbes (p. 166): 'In 



142 The Cafe is Alterd [Act 2 

enterludes and plaies . . . you will learne to plaie the vice, to 
sweare, teare, and blaspheme both heauen and earth.' 

A study of the Vice has been made by Cushman and Eckhardt. 
For shorter discussions, see Chambers (2. 203) ; Collier (2. 186) ; 
Douce (497); Schelling (1.53); Ward (i. 109); Gayley, Plays 
(208), Repr. Eng. Com. (i.xlvi). Dr. Thiimmel has two articles on 
'Shakespeare's Fools' (Jahrbuch 9.87-106; 11.78-96). Cf. 'Der 
Humor bei Shakespeare' by Helene Richter (Jahrbuch 45. 1-50). 

2. 7. 121. Plantan. 'A plant of the genus Plantago, especially 
P. major, the common or greater plantain. It is a famihar door- 
yard weed, with large spreading leaves, close to the ground, and 
slender spikes; it is a native of Europe and temperate Asia, but is 
iiow found nearly everywhere.' — C. D. As to its sanatory proper- 
ties, Gerarde (Herball, 1597, PP- 340, 344) has this to say: 'Plantaine 
is good for ulcers that are of hard curation. ... It staieth 
bleeding, it healeth up hollow sores, and concauate ulcers as well 
olde as new. . . . Galen, Discorides, and Pliny haue prooued it 
to be such an excellent wounde herbe, that it presently closeth or 
shutteth up a wounde though it be very great and large.' 

See Two Noble Kinsmen 1.2.61: 'These poore sleight sores 
Neede not a plantin.' Also Rom. and Jul. 1.2.52: 

Rom. Your plantain-leaf is excellent for that. 

Ben. For what, I pray thee? 

Rom. For your broken shin. 

See also L. L. Lost 3. i. 74. 

2. 7. 136. he tooke it single. 'Foote has imitated this scene in 
his Commissary, vol. 2, p. y2.' — G. The ending of the bout is 
similar, but there the similarity ends. 

2. 7. 140. cob-web. Pliny writes regarding the astringent and 
curative properties of a cobweb (Hist. Nat. 29.6) : 'Fracto capiti 
aranei tela ex oleo et aceto imposita, non nisi vulnere sanato, 
abscedit. Haec et vulneribus tonstrinarum sanguinem sistit.' 

See also Bartholomaeus Anglicus (18. 11.346): 'The cob-web 
that is white and cleane . . . hath vertue to constraine, joj^ne, 
and to restra3aie, and therefore it stauncheth bloud that runneth 
out of a wound, . . . and healeth a new wound, . . . and 
withstandeth sweUing'; M. N. Dream 3.1.185: 'I shall desire you 
of more acquaintance, good Master Cobweb: if I cut my finger, I 
shall make bold with you.' 

2. 7. 142-3. breake my head, and then giue me a plaister. A 
proverbial expression. Heywood (p. 95) and Ray (p. 122) write it: 
'Break my head, and bring me a plaister.' Hazlitt (1907, p. 33) 



Act 2] Notes 143 

has : 'A plaster is but small amends for a broken head.' See Har- 
vey, Letters (i. 115) : 'To give me that as a plaster for a broakin 
pate.' 

2. 7. 147-8. thou art not lunatike, art thou? and thou bee'st 
auoide Mephostophiles. See Stephenson, Elizabethan People (p. 
27) : 'They believed that an insane person was possessed of a devil ; 
literally that an evil spirit had taken up his abode in the house of 
clay, and that the only way to drive him out was to make his 
dwelling uncomfortable'; Com. of Errors 4. 4. 57-61 : 

Pinch. I charge thee, Satan, housed within this man. 
To yield possession to my holy prayers 
And to thy state of darkness hie thee straight: 
I conjure thee by all the saints in heaven! 
Ant. E. Peace, doting wizard, peace ! I am not mad. 

Edgars feigned madness {Lear 3.4.37 ff.), and Malvolio's incar- 
ceration {T. Night 4.2.24 ff.) are familiar instances. See also 
Fitzdottrel's fit in The Devil is an Ass 5.140-6; Volpone 3.308; 
and cf. Matt. 8. 28 ; John 10. 20. 

2. 7. 148. Mephostophiles. 'The name of the evil spirit to whom 
Faust (in the German legend) was represented to- have sold his 
soul. Hence applied allusively to persons (in the 17th c. with 
reference to the character presented in Marlowe's Doctor Faustus, 
in recent use to that presented by Goethe).' The name 'appears 
first in the German Faustbuch 1587 as Mephostophiles; of unknown 
origin. The now current form Mephistopheles, and the abbreviation 
Mephisto, come from Goethe's Faust.' — A^. E. D. 

Cunningham calls Gifford to task for substituting Mephostophilus 
'for the Mephistophiles of the quarto.' The latter spelling is not 
found in the copies of the quarto at hand. 

See Middleton, Blurt, Master-Constable {Wks. 1.31): 'Sirrah 
Mephostophilis, did not you bring letters'; Massinger, The Picture 
{Wks. 3.222) : 'You know How to resolve yourself what my intents 
are. By the help of Mephostophilus, and your picture' ; Shirley, 
Young Admiral (Wks. 3. 145) : 

'Flav. Where is Mephistophilus ? 
Paz. No more devils, if you love me.' 

See also Merry Wives i. 1. 132; Beaumont and Fletcher, Wife for a 
Month (Wks. 9.374); Dekker, Shoemaker's Holiday (Wks. 1.72), 
and Deuils Answer (Pr. Wks. 2.130). Koeppel gives a list of 
references to Mephistophiles (Ben J onsen's Wirkung 20. 15). 

2. 7, 148-9. Say the signe should be in Aries. In astrology, the 
zodiac was regarded as a prototype of the human body, the different 



144 The Cafe is Alterd [Act 3 

parts of which all had their corresponding section in the zodiac 
itself. The head was placed in Aries, the first sign of the zodiac. 
See Encycl. Brit., nth ed. A reference to this may be found in 
Middleton, Family of Love (Wks. 3.12). 

2. 7. 154. get a white of an egge, and a little flax. Pliny, Hist, 
Nat. 29. II, speaks of the medicinal properties of wool and eggs. 
About the white of an egg for wounds, he says : 'Aiunt et vulnera 
candido [ovorum] glutinari.' See Lear 3. 7. 106 : 'I'll fetch some 
flax and whites of eggs To apply to his bleeding face.' Cf. Barth. 
Fair 4. 404 : ' 'Tis but a blister as big as a windgall. I'll take it 
away with the white of an egg, a little honey and hog's grease.' 

2. 7. 157-8. beare away the bucklers. Sometimes used as a quib- 
ble. 'To carry away the bucklers : to come off winner.' — A^^. E. D. 
The latter quotes E. Topsell, Historic of Serpents, 1607 (644.) : 
'Severus side carryed away the bucklers.' See also Heywood, Faire 
Maide of the Exchange {Wks. 2.56), where, after Bowdler has 
tried in vain to gain a favorable reply from her. Mall Berry 
remarks : 'Why then ile beare the bucklers hence away.' 

ACT III 

3.1.4. Remembrance of him. Cf. Franz 322. 

3.1.5. Much. Ironically for 'not at all.' See Every Man Out 
2. 42: 

Here's a device. 
To charge me bring my grain unto the markets : 
Ay, much ! when I have neither barn nor garner. 

Volpone 3.272: 'But you shall eat it. Much!" Cf. Alchemist 4. 
164. In Marlowe, Faustus (Wks. 1.298, 1616 and 1631 versions), 
the vintner demands the return of a goblet. Robin answers, 'I 
much! when can you tell?' See also 3 Hen. IV 2.4.142: 'God's 
light, with two points on your shoulder? much'; T. of Athens 1.2. 
119; and Marston, Malcontent {Wks. 1.243). 

3. 1. 6. True to my friend in cases of affection. Cf. Much Ado 
2. 1. 182: 

Friendship is constant in all other things 
Save in the office and affairs of love. 

T. G. of Verona 5.4.54: 'In love Who respects a friend?' 
3. 1. 16. For this use of it, see Franz 297. Cf. As You Like It 

I. I. 149: 'It is the stubbornest young fellow of France.' 
3. 1. 18. louers periuries are ridiculous. Cf. Ovid, Ars Amat. 

"^■^H'- 'Juppiter ex alto perjuria ridet amantum'; Rom. and Jul. 



Act 3] Notes 145 

2.2.92: 'At lovers' perjuries, They say, Jove laughs'; TibuUus, 
Eleg. 3. 6. 49 ; Propertius, Eleg. 2. 16. 47 ; Callimachus, Epigr. 26. 3 ; 
Webster, White Devil (IVks. i. 119) : 'Lovers' oaths are like 
mariners' prayers, uttered in extremity' ; Dryden, Palamon and 
Arcite 2.149; Massinger, Great Duke of Florence (Wks. 2.463); 
Underwoods 8. 391. 

3. 1. 19. Haue at thee. 'Chiefly used in the imperative, announc- 
ing the speaker's intent to get at or attack.' — N. E. D. See Chaucer, 
Legende of Good Women 1383 : 'Have at the, Jason ! now^ thyn horn 
is blowe' ; Appius and Virginia (4. 119, Dodsley, 1874): 'Have at 
ye, your manhood to try.' In Every Man In (1.57), Brainworm, 
disguised, seeing Knowell approach, exclaims, 'My master! nay, 
faith, have at you,' and then proceeds to beg alms. Cf. Devil is 
an Ass 5. 442, p. 98, note. See also Rom. and Jul. 5. 3. 70 : 'Wilt 
thou provoke me? then have at thee, boy! (they fight)'; ib. (4.5. 
125) : 'Then have at you with my wit! I will dry-beat you with an 
iron wit'; Hamlet 5.2.313: 'Laer. Have at you now! {Laertes 
wounds Hamlet)'; Marlowe, Massacre at Paris {Wks. 2.278): 
'What, are ye come so' soon? Have at ye, sir! (Shoots at Mugeroun 
and kills him).' Additional references from Shakespeare: Com. of 
Errors 3.1. 51; W. Tale 4.4.302; 2 Hen. IV 1.2. 218; Hen. V 
3. 7. 129 ; 2 Hen. VI 2. 3. 92 ; Hen. VIII 2. 2. 85. 

3. 1. 23. tau, dery, dery. Perhaps suggestive of some old ballad. 
Chappeil has several in which the word 'dery' appears (1.59, 62, 
277-8, 348, 352; 2.677). Others may be found in Hickscorner 
(361) ; Revesby Sword Play (39) ; Ralph Roister Doister 2.3. 154; 
Wilson, Cobblers Prophecy (Act i, scene i) ; Dekker, Shoemaker's 
Holiday (Wks. 1.50); Nashe, Summer's Last Will (Wks. 3.258, 
263); and cf. Nashe, Saffron-Walden (Wks. 3.10, 32). 

3.2.3. He has beene at my doore. Plautus, Aul. 388-9: 

Sed quid ego apertas aedis nostras conspicor? 

Et strepitust intus. Numnam ego compiler miser? 

3.2.5. In reading this line, ho may be disregarded (Abbott 512). 
3. 2. 8-11. Now in Gods name, etc. Plautus, Aul. 204-7: 

Meg. Credo edepol, ubi mentionem ego fecero de filia, 
Mi ut despondeat, sese a me derideri rebitur. 
Neque illo quisquamst alter hodie ex paupertate parcior. 

Eve. Di me seruant, salua res est : saluum est, 

siquid non perit. 

3. 2. 14. Scan (Abbott 478, 508) : 

Sir, Gods I my life, | sir, sir, I call I me sir. 



146 The Cafe is Alterd [Act 3 

3. 2. 17. Would you abase your selfe to speake to me. Plau- 

tus, Aul. 184: 

Non temerariumst, ubi diues blande appellat 
pauperem. 

This scene was pointed out by Whalley as having its source in 
Plautus. 

3.2.21. My gold is in his nostrels. Plautus, Aul. 216: 'Aurum 
huic olet.' 

3. 2. 22. Breake breast, breake heart, fall on the earth my 
entrailes. Cf . Every Man Out 2. 30 : 'O, I could eat my entrails, 
And sink my soul into the earth with sorrow' ; ib. 2. 36 : 'Torment 
and death ! break head and brain at once' ; Poetaster 2. 370-1 : 
'Crack, eye-strings, and your balls Drop into earth'; Catiline 4.240: 
'O my breast, break quickly.' 

3.2.23. For the use of with, see Abbott 193; Franz 535; for 
this same, cf. Franz 317. 

3. 2. 24. He knowes my gold. Plautus, Aul. 185 : 

lam illic homo aurum scit me habere, eo me salutat 

blandius. 

Notice the omission of the preposition with the first know, and 
its use with the second (Abbott 200; Franz 630). 
3. 2. 26-7. This was written by Gifford : 

Chris. At what, sir? what is it you mean? 
Jaq. I ask. 

3.2.30-1. I haue nothing . . . To giue with my poore daugh- 
ter. Euclio is equally insistent about his poverty (Plautus, Aul. 
190-2) : 

Meam pauperiem conqueror. 
Virginem habeo grandem, dote cassam atque inlocabilem, 
Neque eam queo locare quoiquam. 

3. 2. 34. Gifford divided this line after father, each part being 
made to form a verse with the preceding and succeeding lines, 
respectively. 

3.2.43-5. shall I haue your daughter. Plautus, Aul. 237-9: 

Meg. Tu condicionem banc accipe : ausculta 

mihi 
Atque eam desponde mi. Eve. At nil est dotis quod 

dem. Meg. Ne duas. 
Dum modo morata recte ueniat, dotatast satis. 



Act 3] Notes i47 

3. 3. 8-12. He has forgot me sure, etc. Plautus, Aul. 244-9 : 
Meg. Sed ubi hinc est homo? 

Abiit neque me certiorem fecit: fastidit mei. 
Quia uidet me suam amicitiam uelle, more hominum 

facit. 
Nam si opulentus it petitum pauperioris gratiam, 
Pauper metuit congrediri. Per metum male rem 

gerit. 
Idem quando occasio illaec periit, post sero cupit. 

We would say a wife. The indefinite article was sometimes 
omitted when the noun stood for the class (Abbott 84). 
3. 3. 16-7. These were written by Whalley and Gifford : 
Whom see I ? my good lord ? 

Count F. Stand up, good father. 

3.3.21. this is for gold. Plautus, Aul. 194: 

Nunc petit, quom pollicetur : inhiat aurum ut 
deuoret. 

3. 3. 33. In reading, the elision is to be disregarded. The first 
syllable of enioy is accented (^Grammar 9. 266). Allowing the elision, 
the line may be scanned (Abbott 484; cf. example from Coriol. 
4- 5- 149) : 

T'enio | y no | thing vn | derneath | the sonne. 

3.3.36. Scan (Abbott 485, 512) : 

How she I had all | she weares, | her war | me shooes. 

The expression God zvot is evidently not to be read as a part of the 
verse. 
3.3.38. In for on (Abbott 161; Franz 503). 
3- 3' 45-50- Mock not the poore, etc. Plautus, Aul. 220-4: 
Eve. Heia, Megadore, hand decorum facinus tuis 
factis facis, 
Vt inopem atque innoxium abs te atque abs tuis me 

inrideas. 
Nam de te neque re neque uerbis merui, ut faceres 
quod facis. 
Meg. Neque edepol ego te derisum uenio neque 
derideo : 
Neque dignum arbitror. 

3. 3. 46. pouerty is the precious gift of God. See Lucan, Phar- 
salia 5. 527 : 



148 The Cafe is Alterd [Act 3 

O vitae tuta facultas 
Pauperis, angustique lares ! O munera nondum 
Intellecta deum. 

Cf. Ecclesiastes 5. 19. In this connection, it will be remembered 
that Jonson's critics sought to wound him by referring to his poverty 
{Discoveries 9. 179-80). 

3. 3. 50. Scan (Abbott 454) : 

When I I mocke poorenes, | then heau | ens make ] me poore. 

An extra syllable was frequently added before a pause, especially 
at the end of a line; and sometimes, as here, at the end of the 
second foot. 
For the correlation of when . . . then, see Franz 554, Anm. 3. 
'The plural heavens was formerly used, esp. in Biblical language, 
in the same sense as in the sing.' — N. E. D. Cf. Macbeth 4. 3. 231. 
3.4.16-7. Gifford wrote the verse: 
And that is all. 

Count F. That is enough, enough. 

3. 4. 34-42. First in Vicenza, etc. The count's recital of his 
reverses resembles Hegio's briefer enumeration after he discovers 
the trick of the exchange of names (Plautus, Capt. 759-6i). Cf. 
note on i. 5. 181-2. 

3. 4. 37. Which was sometimes used with a repeated antecedent, 
or with a noun of similar meaning (Matzner 3.238; Franz ^27', 
Abbott 269). 
3.4.48. That could be omitted (Franz 551). 
3. 5. 1-5. He's gone, etc. Plautus, Aul. 265-7 '■ 

Illic hinc abiit. Di immortales, obsecro, auruni 

quid ualet. 
Credo ego ilium iam indaudisse mihi esse thensaurum 

domi: 
Id inhiat, ea affinitatem banc obstinauit gratia. 

The source of this scene was referred to by Gifford. 
Read villanies as a disyllabic (Abbott 468). 

3.5.4-26. The selection of these lines by Lamb for his Specimens 
has been pointed out by Cunningham. 

3. 5. 5- What seruile villanies, men will do for gold. Cf . Virgil, 
^n. 3. 56-7 : 

Quid non mortalia pectora cogis, 
Auri sacra fames ! 

3.5.7. Read lying as a monosyllable (Abbott 470). 



Act 4] Notes 149 

3.5.9. Eniiies is accented on the second syllable (Abbott 490). 
3. 5. II. For the use of a before a noun, as in a worke, see 
Grammar 9. 299 ; Abbott 24, 140 ; Franz 238. 
3. 5. 16-28. In my deere life, etc. Plautus, Aul. 608-9, 614-5 : 
Tu modo caue quoiquam indicassis aurum meum 

esse istic, Fides : 
Non metuo ne quisquam inueniat : ita probe in late- 

bris situmst. . . . 
Vide, Fides, etiam atque etiam nunc, saluam ut aulam 

abs te auferam : 
Tuae fidei concredidi aurum : in tuo luco et fano 
modost situm. 

3. 5. 17-8. Scarce lawfully begotten, but yet gotten, 
And thats enough. 

Cf. Every Man hi i. 56: 
Get money ; still, get money, boy ; No matter by what means. 

3. 5. 22-3. lie take no leaue, . . , But see thee euery minute. 

Plautus, Aul. 449: 

Hoc quidem hercle quoquo ibo mecum erit, 
mecum feram. 

3. 5. 26. Scan (Abbott 492, 468) : 
With my | face to | ward thee, | with hum | ble curtesies. 

3. 5. 28. Crawford has pointed out that this line is found in 
Bodenham's Belvedere, p. 128 {Notes and Queries 10. 11. 41-2). 

ACT IV 

Actus 3. [4.] Scaene i. The quarto has no further division of 
acts and scenes. These have been supplied without comment where 
the division is obvious. 

4. 1. 1-4. Cf. Every Man Out 2.59: 'You are not ill come, 
neighbour Sordido, though I have not yet said, well-come.' 

4. 1. 16. For this use of valiant, see Franz 686. Cf. i Hen. IV 
2. 4. 465 : 'A goodly portly man, i'faith, and a corpulent.' 
4. 1, 34-7. Cf . Catiline 4. 265 : 

May my brain 
Resolve to water, and my blood turn phlegm. 
My hands drop ofif unworthy of my sword. 

4.1.44. The ellipsis of it was common before please; and so 
meant if, provided that (Franz 306, 565; Abbott 404, 133). 



150 The Cafe is Alter d [Act 4 

4. 1. 45-7. your noble feete may measure, etc. Plautus, Capt. 
1 14-5: 

Sinito ambulare, si foris si intus uolent: 
Sed uti adseruentur magna diligentia. 

4. 1. 55-6. And we must now be carefull to maintaine 
This error strongly. 

Plautus, Capt. 223-6: 

Nam si erus tu mi es atque ego me tuom esse ser- 

uom assimulo, 
Tamen uiso opust, cautost opus, ut hoc sobrie sine- 

que arbitris 
Accurate hoc agatur, docte et diligenter. 

4. 1, 58-61. For should we . . . Appear e our selues, etc. Plau- 
tus, Capt. 705-6: 

Quia uera obessent illi quoi operam dabam : 
Nunc falsa prosunt. 

Read iealousie as a disyllable (Abbott 468). 
4. 1. 64-6. A secret in his mouth 

Is like a wild bird put into a cage, etc. 

Plautus, Capt. 116-8: 

Liber captiuos auis ferae consimilis est: 

Semel fugiendi si datast occasio, 

Satis est — numquam postilla possis prendere. 

4. 1. 68. Giflford placed this with the preceding line. 

4. 1. 70. That he is Gasper, and I true Chamount. Plautus, 
Capt. 249: 

Scio quidem me te esse nunc et te esse me. 

4. 1.75-6. for all your long eare. Cf. Sejanus 3. 57: 
Yea, had Sejanus both his ears as long 
As to my inmost closet. 

The preposition for was used as a preventitive, meaning 'in spite 
of.' See A''. E. D. (s.v. for, 23) ; Abbott 154; Graiivnar 9. 315. 

4. 2. 2. GifiFord arranged O belike so as to form a verse with 
the preceding line. 

4. 2. II. This sometimes stood for the one designated (Franz 
313). Cf. Epiccene 3. 361 : 'This too, with whom you are to marry'; 
Hen. V 4. 4. 78 : 'They are both hanged ; and so would this be.' 



Act 4] Notes 151 

4. 2. 25-9. But sure [since] it is the pleasure of our fates, etc. 
Plautus, Capt. 195-6: 

Si di immortales id uoluerunt uos hanc aerumnam 

exsequi, 
Decet id pati animo aequo : si id f acietis, leuior 

labos erit. 

See Terence, Phormio 1.2.88: 'Quod fors feret feremus aequo 
animo.' Cf. Virgil, ^n. 5. 710 : 'Quidquid erit, superanda omnis 
f ortuna f erenda est' ; and 3 Hen. VI 4. 3. 58 : 'What fates impose, 
that men must needs abide.' 

4. 2. 26. wrack't on Fortunes wheele. 'Her emblem is a wheel, 
betokening vicissitude {N. E. D.) : 1300 Cursor M 2>^7ig: 

Dame fortune turnes than hir quale 
And castes vs dun vntil a wele.' 

Cf. Cicero, In Pison. Oratio 10. 22 : 'Fortunae rotam pertimescere' ; 
Tibull. 1.5.70; Prop. 2.8.8; Hen. V 3.6.28: 'Giddy Fortune's 
furious fickle wheel'; Chaucer, Troilus 1.850: 

For if her wheel stinte any thing to torne. 
Than cessed she Fortune anon to be. 

Other examples may be found in Chaucer, Knight's Tale 925 ; 
Sejanus 3.144; Prince Henry's Barriers 7. 160-1 ; Underwoods 8. 
334; Discoveries 9.178; As You Like It 1.2.35; Hen. V 3-6.34; 
3 Hen. VI 4.3.47; Hamlet 2.2.517; Lear 2.2. 180; Ant. and Clro. 
4.15.44; Marlowe, Edward II (Wks. 2.214); Overbury, Charac- 
ters, p. 119; Seruingmans Comfort, p. 166. Cumberland wrote a 
comedy, The Wheel of Fortune (i779)- 

For an account of the various attributes of Fortune, see Roscher, 
Ausfiihrliches Lexikon der Griechischen und Rbmischen Mythologie 
(Leipzig, 1 884- 1 886). 

4. 2. 27. Read patience as a trisyllable (Abbott 479) ; likewise in 

4- 8. 53- 

4. 2. 34. fortima non mutuat genus. From Horace, Epod. 4. 5-6 : 

Licet superbus ambules pecunia, 
Fortuna non mutat genus. 

4, 2. 49. giue a bowle of rich wine to the health of. Healths 
were drunk with head bare : Epiccene 3. 388 : 'Have her health drunk 
as often, as bare, and as loud as the best of them'; Dekker, Honest 
Whore, Pt. 2 {Wks. 2. 11 1) : 'Be bare. For in the Caps praise all 
of you haue share'; Chapman, All Fooles {Wks. i. 176) : 



152 The Cafe is Alterd [Act 4 

Dariot. Well, Ladies heere is to your honour d healths. 
For. What Dariotto, without hat or knee? 

The last example indicates another custom, drinking while kneeling. 
A few lines below, Dariot revises his toast : 'Heere's to the Ladies 
on my knees.' See Nashe, Summer's Last Will {Wks. 3.267): 
'Bacchus. Crouch, crouch on your knees, foole, when you pledge 
god Bacchus.' See also Dekker, Honest Whore, Pt. 2 (^Wks. 2. 162). 

The arms were sometimes pierced, and blood mixed with the 
wine. See Cynthia's Revels 2. 280 (cf. p. 357) : 'Stabbing himself, 
and drinking healths'; Dekker, Honest Whore, Pt. i {Wks. 2.38) : 
'How many Gallants have drunke healths to me. Out of their dag- 
ger'd arms'; Cook, Greenes Tu Quoque (7.66, Dodsley, 1825): 'I 
will . . . stab him that will not pledge your health, and with a 
dagger pierce a vein, to drink a full health to you.' See also Mars- 
ton, Dutch Courtezan {Wks. 2.70) ; Middleton, Trick to Catch the 
Old One {Wks. 2.352); Catiline 4.208, and cf. Sallust, Bellum 
Catilin. 22. 

Brand (2.325-37) has a discussion on the subject of pledging. 
Dodsley (1825, 3.242) quotes a passage from Barnaby Riche, who 
wrote an article on the forms prescribed in drinking healths : The 
Irish Hubbub, or the English Hue and Crie {The Ruffing Order of 
drinking Healths used by the Spendalls of this age, 1623, p. 24). 

4. 2. 51. Passe. This word was intended either as a command 
for the soldiers who attended upon Maximilian to leave the room, 
or as a stage-direction. The latter is more probable. The word 
was used under similar conditions in Julius Ccesar i. 2. 24, and 
W. A. Wright, in his notes on the play, considers the word a 
stage-direction. 

4. 2. 54. browne study. 'A state of mental abstraction or mus- 
ing : gloomy meditations.' — A''. E. D. The latter quotes Diceplay 
(1532) 29.6 (Percy Soc, London, 1849): 'Lack of company will 
soon lead a man into a brown study.' See Marriage of Witt and 
Wisdome (1579) 13 (Shak. Soc, 1846) : 'I must be firme to bring 
him out of his Broune stodie'; Cynthia's Revels 2.321: ' 'T is the 
horsestart out o' the brown study'; Greene, Philomela {Wks. 11. 
120) : 'Signeor Giouanni seeing the Countie in a brown study, 
wakened him of his muse with a merrie greeting.' Greene has 
other instances : Wks. 6. 37 ; 10. 17 ; 13. 96 ; 14. 93. The expres- 
sion is discussed in Notes and Queries (3.1. 190; 6.2.408; 6.3.54; 

6. S-53)- 

4. 2. 55. Your habit and your thoughts are of two colours. 
Cf. Every Man Out 2.116: 'My thoughts and I were of another 
v/orld.' 



Act 4] Notes 153 

4. 2. 56-7. Whalley and Gifford made two verses here, the 
division being after Chamont. 
4. 2. 60. Cupid hath tane his stand in both your eyes. Cf . 

Tottel's Miscellany ('A praise of his Ladye') : 

In eche of her two cristall eyes 
Smileth a naked boye. 

Dekker used the same figure in Old Fortunatus (IVks. 1.95) : 

Wish but for beauty, and within thine eyes 
Two naked Cupids amorously shall swim. 

4. 2. 62-3. a Saint. Another Bridget. Probably a reference to 
St. Bridget of Ireland (c. 452-523), though Sweden has one of the 
same name. Regarding the former, the Encycl. Brit, (nth ed.) 
says : 'Refusing to marry, she chose a life of seclusion, making 
her cell, the first in Ireland, under a large oak tree, whence the 
place is called Kil-dara, "the church of the oak." The city of 
Kildare is supposed to derive its name from St. Brigid's cell. Her 
reputation was not confined to Ireland, for, under the name of St. 
Bride, she became a favorite saint in England.' Another account 
will be found in Mrs. Jameson's Legends of the Monastic Orders 
(pp. 195-7)- 

4. 2. 66. turne tippet. 'To turn one's coat — that is, make a com- 
plete change in one's course or condition.' — C. D. See Merry Devil 
of Edmonton 3. 2. 138 : 'The Nun will soone at night turne tippit ; 
if I can but deuise to quit her cleanly of the Nunry, she is mine 
owne' ; Lyly, Euphues to Philaiitus (Wks. 1.246): 'If Lucilla 
reade this trifle, she will straight proclaime Euphues for a traytour, 
. . . seeing mee tourne my tippet'; Greene, Mamillia {Wks. 2. 
156) : 'They accuse women of wauering when as they themselues 
are such weathercocks as euerie wind can turne their tippets.' 
Greene has several other examples {Wks. 3.97, 231; 4.18). See 
also Beaumont and Fletcher, Mounsieur Thomas {Wks. 7.332): 

You must turn tippet, 
And suddenly, and truly, and discreetly. 
Put on the shape of order and humanity. 

Heywood has the phrase in his Proverbs (pp. 54, 178-80). 

4. 2, 68-9. Cypres lie . . . Maddam Venus. A pun on Cypress 
(or Cyprus), the island, where Venus was worshiped, and Cypress, 
a thin transparent material, originally imported from or through 
Cyprus, which, when black, was used for mourning. The sense is, 
Phoenixella, having lived so long in Cyprus (in black), would 



154 The Cafe is Alterd [Act 4 

eventually be influenced by the 'Cyprean Queen.' The same quibble 
was used by Shirley, Love Tricks {Wks. 1.42) : 

'Gorg. Goddess of Cyprus — 

Bub. Stay; I do not like that word Cyprus, for she'll think I 
mean to make hatbands of her: cannot you call her taffata goddess? 
or, if you go to stuff, cloth of gold were richer. 

Gorg. Oh, there's a conceit; Cyprus is the emblem of mourning, 
and here by Cyprus you declare how much you pine and mourn 
after her, sir.' 

See Staple of News 5. 181 : 

Why, this is better far, than to wear cypress, 
Dull smutting gloves, or melancholy blacks. 

For other examples, see Every Man In 1.24; Epigram 73 8.183; 
W. Tale 4. 4. 221 ; T. Night 3. i. 132 ; Heywood, Foure P's 241 ; 
Dekker, Guls Horne-booke (Nott, p. 100) ; Middleton, The Puritan 
(Act I, scene i, 'Enter') ; Milton, // Penseroso 35. 

Among the Romans, cypress, the evergreen tree, was sacred to 
Pluto. It was an emblem of mourning, and sprigs of the tree 
were used at funerals. See Pliny, Hist. Nat. 16. 33 ; Horace, Od. 
2.14.23, and Epod. 5.18; Virgil, JEn. 3.64, and 6.216; T. Night 
2. 4. 53 ; Spenser, Faerie Queene 2. i. 60, and Daphnaida 529; Poole, 
English Parnassus (p. 561, London, 1657) ; Prior, Poems ('Ode 
. . . Queen's Death' 1.41, London, 1721). 

4. 2. 69. 'The was inserted in a few phrases which had not, 
though they now have, become adverbial' (Abbott 91). Cf. Franz 
268. 

4. 3. 2-3. heres an excellent place for vs to practise in. The 
extravagant salutations rehearsed by the two pages remind us of 
a somewhat similar scene in Cynthia's Revels 2. 313-35. Jonson had 
little sympathy with the affectations of those who fenced, hunted 
(cf. Every Man In 1.9), courted, or performed the customary 
social amenities by book or rote. Cf. As You Like It 5. 4. 44 flf. ; 
Rom. and Jul. 2. 4. 20 flf. The instance in Moliere, Les Precieuses 
Ridicules, is familiar, where affected language and manners are 
satirized in the persons of the two masquerading valets, the Marquis 
of Mascarille and the Viscount of Jodelet. 

4. 3. 14-6. Mounsieur Onion, . . . me ha see two, tree, foure 
hundra towsand of your Cousan hang. Cf. Every Man In i. 79-80 : 
'Cob. . . . (pulls out a red herring.) ... I could weep salt- 
water enough now to preserve the lives of ten thousand thousand 
of my kin.' Cf. Masque of Augurs 7. 419: 'As it be two, dree, veir, 
vife towsand mile off.' 



Act 4] Notes i55 

Pacue no doubt refers to the ropes of onions strung or plaited 
together that were displayed at the markets and fairs. See note 
on 4. 7. 66. A fair which is known as 'Onion Fair' is still held at 
Chertsey, Surrey, on Sept. 25 (Holy Rood day). It derives its 
name from the quantity of onions brought for sale (Brailey and 
Britton, History of Surrey 2. 191). 

4. 3. 79-80. from the crowne of the head, etc. The proverb is 
humorously reversed in Tale of a Tub 6. 195 : 'From the sole of the 
head To the crown of the foot.' See Much Ado 3.2.9: 'From the 
crown of his head to the sole of his foot, he is all mirth' ; Beau- 
mont and Fletcher, Honest Man's Fortune {Wks. 3-368) : 'I am all 
lead; from the crown of the head to the sole of the foot, not a 
sound bone about me.' See also Tempest 4. i. 233 ; Macbeth i. 5. 43 ; 
Middleton, A Mad World (Wks. 3.256). 

4. 3. 82-3. time v/as, time is, and time shall be. A probable 
echo of the words spoken by the brazen head in Greene, Friar Bacon 
and Friar Bungay (lVks.13.79)'- 'Time is . . . Time was . . . 
Time is past' They are quoted by Overbury in A Maquercla (p. 
99). Cf. Every Man In 1.29: 'Oh, an my house were the Brazen- 
head now ! faith it would e'en speak Moe fools yet.' Koeppel gives 
a list of references to the 'brazen head' {Ben Jonson's Wirkung 
20.43). 

4.4.4-5. by our loue . . . The sacred spheare wherein our 
soules are knit. Plautus, Capt. 402: 

Inter nos fulsse ingenio baud discordabili. 

Cf. Mucedorus i. i. 4-5 : 

Whose deare affections boosome with my heart, 
And keepe their domination in one orbe. 

4. 4. 17. more precious then thy name. Chamont addressed him 
as lasper at the opening of this scene. 

4. 4. 28. And as his owne respected him to death. In Plautus 
the boy is sold as a slave {Capt., Prol. 19-20) : 

Is postquam hunc emit, dedit eum huic gnato suo 
Peculiarem, quia quasi una aetas erat. 

Cf. ib. 273 : 'Nee mihi secus erat quam si essem familiaris filius.' 
4.4.31. Read violence as a disyllable (Abbott 468). 
4. 5. 1-2. no more of thy songs and sonets. Cf. Poetaster 2. 

374 : 'Away with your songs and sonnets.' 

A jocular allusion to the poetical miscellanies, and the collections 

of songs that were being published at the time. Of the former, 

Tottel's Miscellany of Songes and Sonnettes (1557) was the first of 



156 The Cafe is Alterd [Act 4 

any importance. Of songs and music, Byrd and Morley were noted 
compilers and publishers. In 1587 Byrd published a collection 
called Psahnes, Sonets, and Songs of sadnes and pietie. Cf. Merry 
Wives I. 1.206: 'I had rather than forty shillings I had my Book 
of Songs and Sonnets here' ; Staple of News 5. 266 : 

His lyrics, and his madrigals ; fine songs 
Which we will have at supper. 

Cf. Every Man In i. 104. 

4. 5. 4-5. in an Academy still. He is still in mourning. Black 
seems to have been the color worn by scholars. Cf. New Inn 5. 335 : 

Lord L. Is he a scholar? 
Host. Nothing less ; 

But colours for it, as you see ; wears black. 

Overbury (p. 87) writes: 'A meere scholer is an intelligible asse: 
or a silly fellow in blacke.* See Greene, Friar Bacon and Friar 
Bungay {Wks. 13.56) : 

The towne gorgeous with high built colledges, 
And schoUers seemely in their graue attire. 

And Dekker, lests (Pr. Wks. 2.275): 'He tooke him [the Preci- 
sian] to be a scholler, because he went all in blacke.' In Shirley's 
Lady of Pleasure {Wks. 4.25-6) Lady Bornwell is on the point of 
fainting when she sees her nephew in his black college attire. 
See Earle, Micro-cosmographie (p. 45, Engl. Reprints, ed. Arber). 

4. 5. 7. downe the winde. A term in hawking, often used 
figuratively to mean : 'toward ruin or adversity.' — C. D. See Mad- 
den, Diary of Master William Silence (p. 199) : 'If you would get 
rid of an irreclaimable haggard, you would whistle her oflf and let 
her down the wind, to prey at fortune'; cf. Othello 3.3.259-63. 
For the figurative use, see Taylor, Motto (p. 51) : 'But his good 
dayes are past, he's downe the winde'; Breton, Courtier and Coun- 
try-man (p. 177); Pepys, Diary 3.22 (Jan. 25, 1662-1663). 

In Every Man In (1.9), Jonson pays his respects to those, who, 
to gain 'skill in the hawking and hunting language,' purchased 
books on the subject. That he had no fault to find in the sport 
itself, nor any censure for those who pursued it for its own sake, 
may be seen from his epigram. To Sir Henry Goodyere 8. 188. 

For works on hawking, see Harting, Bibliotheca Accipitraria; 
Turbervile, Booke of Falconrie; Latham, Falconry; and Michell. 
Art and Practice of Hawking. Strutt (pp. 24-38) gives an account 
of this sport. 



Act 4] Notes 157 

4.5.13-4. super negulum. Nares says of supernaculum: 'A 
kind of mock-Latin term, intended to mean upon the nail. A com- 
mon term among topers.' He refers to a pamphlet printed in Leipsic 
in 1746, in which the derivation is discussed. The title is De Super- 
naculo Anglorum, and the derivation is stated thus : 'Est vox 
hybrida, ex Latina prepositione super et Germana nagel (a nail) 
composita.' In a side note to Nashe, Pierce Penilesse (Wks. 1.205), 
we read : 'Drinking super nagulum, a deuise of drinking new come 
out of Fraunce ; which is, after a man hath turnd vp the bottom 
of the cup, to drop it on his naile, & make a pearle with that is 
left; which, if it shed, & he cannot make stand on, by reason thers 
too much, he must drinke againe for his pennance.' The note is 
a comment on : 'Now, he is no body that cannot drinke super 
nagulum.' See Nashe, Summer's Last Will (Wks. 3.266) : 'A vous 
mounsieur Winter, a frolick vpsy freese, crosse, ho, super nagulum.' 
The stage-direction reads : 'Knockes the lacke [cup] vpon his 
thumbe.' See also Massinger, Virgin-Martyr {Wks. 1.26): 'Bac- 
chus, the god of brew'd wine, and sugar, grand patron of rob-pots, 
upsy freesy tipplers, and super-naculum takers.' Cf. Seruingmans 
Comfort (p. 152). A discussion of the term, with references, is to 
be found in Notes and Queries (4.1.460, 559) and Brand (2.238). 
Cf. the proverb: 'Make a pearl on your nail' (Hazlitt, 1869, p. 
271). See Dekker, Honest Whore, Pt. i (Wks. 2.22): 

I ha done you right on my thumb naile, 
What will you pledge me now? 

4. 5. 18. For that let the higher powers worke. Cf. Horace, 
Od. 1.9.9; 'Permitte divis cetera.' 

4. 5. 21-2. in the crotchets already. The N. E. D. gives this 
definition of crotchet: 'A whimsical fancy; a perverse conceit; a 
peculiar notion on some point (usually considered unimportant) 
held by an individual in opposition to common opinion. The origin 
of this sense is obscure. It has the radical notion of "mental twist 
or crook." ' Hazlitt has 'To have crotchets in one's crown' in his 
collection of Proverbs, p. 419. Jonson uses the same word again 
in Volpone 3.310: 'I must have my crotchets, and my conundrums.' 
Cf. Merry Wives 2. i. 159: 'Faith, thou hast some crotchets in thy 
head'; Meas. for Meas. 3.2.135; Much Ado 2.3.158; Brewer, 
Lingua (5. 165, Dodsley, 1825). 

4. 5. 27. no more of this surquedry. Cf . Chaucer, Parson's Tale 
403 : 'Presumpcioun is whan a man undertaketh an emprise that 
hym oghte nat do, or elles that he may nat do, and this is called 



158 The Cafe is Alterd [Act 4 

surquidie'; Spenser, Faerie Queene 5-2.30 (cf. 2. 12. 31 ; 3.1. 13; 
3. 10.2) : 

There they beheld a mighty Gyant stand 
Upon a rocke, and holding forth on hie 
An huge great paire of ballance in his hand, 
With which he boasted, in his surquedrie, 
That all the world he would weigh equallie. 

Jonson used the word again in Love Restored 7. 200. 

4. 5. 28. ad vngem. Exactly, perfectly. The expression is bor- 
rowed from sculptors, who, in modeling, give the finishing touch 
with the nail; or from joiners, who test the accuracy of joints in 
wood by the nail. See Horace, Sat. i. 5. 32 : 'Ad unguem Factus 
homo'; Horace, Ars Poetica 294: 'Carmen decies castigare ad 
unguem' ; Virgil, Georg. 2. 277 : 'Omnis in unguem . . . secto 
via limite quadret.' In Tale of a Tub (6.135), when Miles Meta- 
phor is recommended as the one to borrow a messenger's coat, Hugh 
replies : 'He will do it ad unguem.' Cf. Magnetic Lady 6. 72 ; L. L. 
Lost 5. 1. 81-3: 

'Cost. Go to ; thou hast it ad dunghill, at the 

fingers' ends, as they say. 
Hoi. O, I smell false Latin ; dunghill for unguem.' 

vpsie freeze. 'In the Dutch fashion, or a la mode de Frisc.' — 
Nares. The C. D. has the same explanation, giving as the Dutch 
origin, op sijn Friesch, and adding, 'Upsee has been conjectured to 
mean "a kind of heady beer," qualified by the name of the place 
where it was brewed.' The expression clearly implies deep drinking. 
See Dekker, Dead Tearme (Pr. Wks. 4. 12) : 'Fellowes there are 
that follow mee, who in deepe bowles shall drowne the Dutchman, 
and make him lie vnder the table. At his owne weapon of Vpsie 
freeze will they dare him' ; Dekker, Guls Horne-booke (Pr. Wks. 
2. 206) : 'Awake thou noblest drunkerd Bacchus, . . . teach me 
(you soueraigne skinker) how to take the Germanies vpsy freeze'; 
Massinger, Virgin-Martyr (Wks. 1.26): 'Bacchus, the god of 
brew'd wine and sugar, grand patron of rob-pots, upsy-freesy tip- 
plers, and supernaculum takers'; Jack Drum's Entertainment (Simp- 
son, Sch. of Shak. 2. 165) : 'Drinke Dutch, like gallants, let's 
drinke vpsey freeze'; also Lodge, Rosalynde (Wks. i. 10) ; Dekker, 
Dead Tearme (Pr. Wks. 2.19, 206; 3.270), and Seuen Deadly 
Sinnes (Pr. Wks. 2.19); Nashe, Pierce Penilesse (Wks. 1.205); 
Scott, Lady of the Lake 6.5.94-5; and cf. Hamlet 1.4.8-9. The 
expression Upsee-Dutch occurs in The Alchemist (4. 142), and in 



Act 4] Notes i59 

Beaumont and Fletcher, Beggar's Bush {IVks. 9.44)- In the latter, 
reference is made to Upsey-English (p. 80). 

See Nares for a discussion on Upsee Freeze, and Brand (2. 330) 
for additional examples. 

4.5.38. a ditty for this handkercher. Later in the scene (1. 53) 
called a 'posie.' A short motto or verse of poetry, either engraved 
in. a ring, or sent to a lady to accompany some gift or token. In 
An English Garner (pp. 269, 281, 295, ed. BuUen) are to be found 
the following collections of 'posies' : Love Posies (Harl. MS. 6910, 
dated about 1596) ; Love's Garland (1624) ; Cupid's Posies, For 
Bracelets, Handkerchers, and Rings; With Scarfs, Gloves, and other 
things (1674). They are also in Arber's English Garner (1.611; 
8.97, 351; cf. 8.410). 

See Lydgate, Minor Poems (p. 65, Percy Soc.) : 

And for youre poyesye these lettres v. ye take. 
Of this name Maria, only for hir sake. 

The 'posy' of the ring given by Nerissa to Gratiano (M. of Venice 
5. I. 150) was : 'Love me, and leave me not.' Asotus in Cynthia's 
Revels (2. 302) presents a ring with this motto : 'Let this blush 
for me.' See Hamlet 3.2.162: 'Is this a prologue, or the posy of 
a ring.' For other examples, see Every Man In i. 51 ; Cynthia's 
Revels 2.242; Barth. Fair 4.424; New Inn 5-3io; Epigram 73 
8. 183; Shakespeare, Lover's Complaint 45 ; Beaumont and Fletcher, 
Knight of the Burning Pestle (Wks. 2.227); Marlowe, Jew of 
Malta (Wks. 2.52); Middleton, Family of Love (Wks. 3. 113) ; 
Shirley, Lady of Pleasure (Wks. i. i. 15). 

A handkerchief was a customary token, and it was the gift of 
either sex. Stow says (Annals, 1631, p. 1039) : 'It was then the 
Custome for maydes, and Gentlewomen, to giue their fauourites as 
tokens of their loue, little handkerchiefs of about three or foure 
inches square, wrought round about, and with a button, or a tassell 
at each corner.' In the Vow Breaker (Sampson, Act i, scene i), 
Miles, on leaving for the wars, says to Ursula : 'I leave an hand- 
kercher with you, 't is wrought with blew Coventry.' See Masque 
of Owls 8. 58 : 

Their maids and their makes. 

At dancings and wakes. 

Had their napkins and posies. 

In the Courtier and Country-man (Breton, p. 183), the country- 
man speaks of the wholesome relations of the young folks in the 
country, where 'a payre of Gloues & a handkerchifTe are as good 
as the best obligation.' The fateful handkerchief in Othello is a 



i6o The Cafe is Alterd [Act 4 

familiar instance (3. 3. 290) : 'Emil. This was her first remem- 
brance from the Moor.' Later (3.4.55), Othello remarks: 

That handkerchief 

Did an Egyptian to my mother give. 

The following couplet is selected from Cupid's Posies (p. 296, ed. 

Bullen) as being characteristic : 

This Handkercher to you assures 
That this and what I have is yours. 

'Posies' were inscribed also on trenchers : Dekker, North-ward 
Hoe {Wks. 3.38): 'I'll haue you make 12. poesies for a dozen 
cheese trenchers.' See also The Devil is an Ass 5. 4 ; Dekker, 
Honest Whore, Pt. i (Wks. 2.72); Middleton, Old Law (Wks. 
2. 149), and No Wit, No Help (Wks. 4.322). 

4. 5. 41. in diebus illis. An expression used by the following : 
Greene, A Quip for an Upstart Courtier (Wks. 11.222, 230, 245, 
294); Nashe, Terrors of the Night (Wks. 1.367), Vnfortunate 
Traveller (Wks. 2.230), Prayse of the Red Herring (Wks. 3. 188) ; 
Seruingmans Comfort (pp. 135, 146). 

Professor Cook reminds me of its extensive use in the Bible. 
Cruden (Concordance) records 26 examples. See Genesis 6.4: 
'There were giants in the earth in those days' ; Luke 2. i : 'And it 
came to pass in those days.' 

4. 5. 48. danger doth breed delay. Onion has of course reversed 
the proverb. Cf. Hazlitt (1907, p. 127). See Greene, Anatomic of 
Fortune (Wks. 3.230): 'Let vs leaue therefore these needlesse 
protestations, . . . delay breedes danger' ; / Hen. VI 3. 2. 33 : 
'Defer no time, delays have dangerous ends' ; Greene, Carde of 
Fancie (Wks. 4-49), James IV (Wks. 13. 311); Preston, New 
Covenant 435 (1634) ; Don Quixote 2.41. 

4. 5. 50. Meridian slaue. See Glossary. The following uses of 
'meridian' are cited by the TV. E. D.: 'Meridian devil: translation 
of the Vulgate dcemonium meridianum (Ps. 91.6), for which the 
Eng. Bible has "the destruction that wasteth at noonday" ; Skelton, 
Image Ipoc. 2. 429 : "Thou art a wicked sprite, ... A beestely 
bogorian, And a devill meridian"; Bale, Eng. Votaries 2. 118: "O 
deuyls merydyane, as the Prophet doth call yow." ' 

4.5.52. Cupids burden: tis to heauy, to tollerable. The same 
misuse of tolerable for intolerable occurs in Much Ado 3. 3. 37 : 
'To babble and to talk is most tolerable and not to be endured'; 
and in Heywood, Faire Maide of the Exchange (Wks. 2.57): 
' 'T is most tolerable, and not to be endured, flesh and bloud cannot 
beare it.' 



Act 4] Notes 161 

4.6.1. Scan (Abbott 456, 465; : 

Nay I pri | thee Rachel, | I come | to com | fort thee. 

/ may be regarded as redundant, and final el is softened before a 
vowel. 

4.6.5-6. Cf. Every Man In 1.202 (original edition) : 

Methought he bare himselfe with such observance, 

So true election and so faire a forme. 

4. 6. 9. turne turtle. The turtle-dove, often shortened to turtle, 
was an emblem of chaste and faithful love. See Lyly, Euphues and 
his England (IV ks. 2.54) : 'The Turtle hauing lost hir mate, wan- 
dreth alone, ioying in nothing, but in solitarinesse.' Bond, in a note 
to the above passage, refers to Bartholomseus Anglicus, De Prop. 
Rerum 12. 34, where the same sentiment is expressed. Pliny writes 
of the dove. Hist. Nat. 10. 52 : 'Pudicitia illis prima. . . . Con- 
iugii fidem non violant.' 

See also Chaucer, Parlement of Foules 355 : 'The wedded turtel, 
with hire herte trewe'; W. Tale 4.4.154: 'So turtles pair. That 
never mean to part' ; Troi. and Cres. 3. 2. 185 : 'As true as steel, 
. . . as turtle to her mate'; cf. Phoenix and Turtle; Lyly, 
Euphues and his Ephoebus (Wks. 1. 285). In a note to the reference 
just cited from W. Tale (Variorum ed., p. 302), the editor refers 
to Gesta Romanorum, where a young widow says to her father-in- 
law : 'Donee audiam de sponso meo dulcissimo, ad instar turturis 
manebo tecum.' 

4. 6, 13-4. But this is, when nature will bestow 

Her gifts on such as know not how to vse them. 

Cf. Every Man Out 2. 77 : 

Blind Fortune still 
Bestows her gifts on such as cannot use them. 

Poetaster 2. 473 : 

And with her blind hand 
She, blind, bestows blind gifts, that still have nurst, 
They see not who, nor how, but still, the worst. 

Every Man In i. 11 -2: 

Have you not yet found means enow to waste 

That which your friends have left you, but you must 

Go cast away your money on a buzzard, 

And know not how to keep it, when you have done? 

Devil is an Ass 5. 120 : 'That shall be kept for your wife's good, 
Who will know better how to use it.' 



i62 The Cafe is Alterd [Act 4 

These lines appear in Bodenham's Belvedere (p. 149), somewhat 
altered : 

Fortune her gifts in vaine to such doth giue. 
Who when they Hue, seeme as they did not Hue. 

Zeus is said to have deprived Plutus of his sight, that he might 
distribute his gifts blindly, and without any regard to merit 
(Aristophanes, Plut. 90; Schol. ad Theocrit. 10.19). Cf. Cicero, 
Lael. 15.54: 'Non enim solum ipsa fortuna caeca est, sed eos etiam 
plerumque efficit caecos quos complexa est.' 

4.6.18. see the painter, etc. Of the custom of painting and 
of using washes to improve the complexion, Strutt (The Man- 
ners and Customs of the English 3.103, London, 1776) says: 
"These curious arts the moderns must not arrogate to themselves 
the invention of, for assuredly they are of very ancient date; 
though the first mention that I remember to have seen of painting 
being used in England, is in a very old MS. which is preserv'd 
in the Harleian Library (1605), which I suppose is full as old as 
the 14th century.' From this MS. he then quotes three recipes, 
of which the following is the first: 'Moeng (mix) to gyder the 
milk of an asse, and of a blak kow and brimstone, of everych y lucke 
[yliche?] moche (of each a like quantity) and anoynte thy face, 
so thu shalt be fayr and hwyt (white).' 

In The Devil is an Ass (5.68, and 104-5), the ladies are informed 
at a great length of all the fashionable washes and cosmetics then 
in vogue in Spain. Stubbes (pp. 55-60) considered this custom 
'most ofifensiue to God, and derogatorie to his maiestie.' 

4. 7. — Enter Onion and luniper. Jonson regularly makes a 
new scene when a character enters who alters the situation. This 
is the case even when characters remain on the stage from the 
preceding scene. The following are a few examples taken at random 
from the folio of 1616: Cynthia's Revels, Act i, scene 2; Poetaster, 
Act 2, scene 2; Alchemist, Act i, scene 2; Epicocne Act i, scene 2. 

4.7.5. I am betwixt [bewitched]. Jonson makes other allu- 
sions to witchcraft in this play (1.5.45; 2.7.147-8). He has 
treated the matter more fully in The Devil is an Ass; The Masque 
of Queens; and The Sad Shepherd. Characteristic plays on the 
subject by contemporary dramatists are, of course: Shakespeare's 
Macbeth; Middleton's The Witch; and Ford, Dekker, and Rowley's 
The Witch of Edm.onton. 

4.7.10-3. Hay my loue? O my loue, . . . O dcHcate trip and 
goe. Cf. Nashe, Wks. 3.332 (Preface, Astrophel and Stella) : 'My 
stile is somewhat heauie gated, and cannot daunce trip and goe so 



Act 4] Notes 163 

liuely, with oh my loue, ah my loue, all my loues gone, as other 
Sheepheards that haue beene fooles in the Morris time out of 
minde.' 

The expression trip and go was frequently used by Simon Eyre 
in the Shoemaker's Holiday (Dekker, Wks. 1.20, 23, 62, 72). Cf. 
L. L. Lost 4. 2. 14s : 'Trip and go, my sweet ; deliver this paper' ; 
Gosson (p. 25): 'Trype and goe, for I dare not tarry'; Tempest 
4.1.46; Nashe, Summer's Last Will {Wks. 3.240): Milton, L'Al. 
2Z- For other references, and for the words and music of a song 
with this title, see Chappell (i. 130-1). 

4. 7. 35. radamant. Juniper may have had in mind either Rhada- 
manthus or Bradamant. Each is used elsewhere in Jonson's works, 
the former in The Poetaster (2.413) and Epigram 133 (8.239), and 
the latter in The Alchemist (4.68). 'Radamant' is suggestive, too, 
of Rodomont, the Moorish king in Orlando Innamorato and Orlando 
Furioso. 

4.7.36. Mathauell. Niccolo Machiavelli (1469-1527), the cele- 
brated statesman and author who lived in Florence. Meyer in his 
article, 'Machiavelli and the Elizabethan Drama' (Litterarhistor- 
ische Forschungen 1.89-90), says this is the first instance of a woman 
being called a Machiavel. He cites four other instances. In 1604 
Andrew published a poem. The Vnniasking of a feminine Machiavell. 
Ward (1.339) has a note on Machiavelli's appearances in Eliza- 
bethan literature. 

See Merry Wives 3. i. 104: 'Am I politic? am I subtle? am I a 
Machiavel'; Greene, Mamillia (Wks. 2.205) : 'So Pharicles . . . 
beeing in the state of his life such a mutable machauilian, as he 
neither regarded friend nor faith, oath nor promise, if his wauering 
wit perswaded him to the contrarie.' In Nashe, Saffron-Walden 
{Wks. 3.137), Dr. Perne is called: 'An apostata, an hipycryte, a 
Machauill, a cousner, a iugler.' 

Other references may be found in / Hen. VI 5. 4. 74 ; 3 Hen. VI 
3.2. 193; Magnetic Lady 6.26; Greene, Cony-Catching, Pt. 2 {Wks. 
10. 7z) ', Nashe, Pierce Penilesse {Wks. i. 176, 220). 

4. 7. 40-3. luni. You smell my meaning. 

Oni. Smell, filthy, fellow luniper filthy? 
smell? O most odious. Cf. Every Man In 1.27: 

'Cob. I smell his ghost ever and anon. 
Mat. Smell a ghost! O unsavory jest!' 

4. 7. 45. smell a rat. An expression found in Ray (p. 143) and 
Hazlitt (1907, p. 493). It is quoted in Tale of a Tub 6. 194; Look 
About You (7.416, Dodsley, 1874); Butler, Hudibras 1. 1.821. 



1 64 The Cafe is Alterd [Act 4 

4.7.51-2. sweet hart? . . . And bag pudding. 'A pudding 
made evidently of flour and suet, with plums, and of an elongated 
shape, as it had two ends. It probably represented our roUy-polly 
puddings, and seems from the frequent allusions to it to have been 
a very popular dish at the tables of the middle and lower classes.' — 
Nares. Grose (p. 192) calls it a 'Leicestershire plower.' In 
another place (p. 148), he says that 'bag-pudding' was a jocular 
appellation given by the Scotch for an English poke-pudding. 

'Sweet-heart and bag-pudding' was a proverbial expression (Ray, 
p. 45). See Day, Humor Out of Breath 2.1.25: 'Farewell sweet 
heart — God a mercy, bag pudding.' 

For other references to bag-pudding, see Hazlitt, Proverbs (1907, 
P- 397) ; Three Ladies of London (6. 312, Dodsley, 1874) ; Hey- 
wood, Edward IV (IVks. 1.47); Cartright, Ordinary (10.193, 
Dodsley, 1826). 

4.7.61. conni-catching. Cheating, swindling. A 'cony-catcher' 
was a rogue or cheat who preyed upon and gulled the simple 
people of London. The term was made famous by Greene's Defence 
of C onny-C atching , published in 1591. It is a metaphor taken from 
the cunning artifices practised in robbing cony- or rabbit-warrens. 

The first use of the term given in the N. E. D., with this sense, 
is from Nobody and Somebody (Simpson, Sch. of Shak. 1.338): 
'If I had not overheard this treason to his person, these cunni- 
catching knaves would have made lesse than Nobody of him.' In 
Every Man In (1.67), Stephen calls Brainworm a 'coney-catching 
rascal' for selling him a supposed Toledo rapier. Slender has the 
same epithet for Bardolph, Nym, and Pistol {Merry Wives i. i. 128). 
In Nashe, Terrors of the Night (Wks. 1.362), we read of 'Cony- 
catching Riddles'; and in his Vnfortunate Traveller (Wks. 2.259), 
reference is made to a 'fine cunny-catching corrupt translation.' 
See also T. of Shrew 4. 1.45; 5. i. 102; and Seruingmans Comfort 
(pp. 125, 147). Hart has an article on Greene's 'Cony-catching 
series' in Notes and Queries (10.2.484). 

4. 7. 62. Onion gets vp into a tree. Plautus, Aul. 678-9 : 

lam ego illuc praecurram atque inscendam 

aliquam in arborem 
Indeque obseruabo aurum ubi abstrudat senex. 

Regarding the difference in motive of this scene, Giflford says : Tn 
Plautus the discovery of the treasure is the prime object; in Jon- 
son, it is merely incidental, and forms no necessary part of the 
plot. Rachel might have obtained a husband had Jaques been as 
poor as every one thought him ; whereas the Lar kindly informs us 



Act 4] Notes 165 

in the prologue, that the treasure was expressly bestowed on Euclio, 
that he might be enabled to give a marriage portion with his 
daughter to a youth of quality.' 

4. 7. 66. Pitiful Onion, that thou hadst a rope. References to 
a rope were usually made with a quibble. Onion's use of the word 
here is not quite clear. It may be the customary joke, a reference 
to the gallows. See Tempest i.i. 33: 'Stand fast, good Fate, to 
his hanging: make the rope of his destiny our cable'; / Hen. VI 
I- 3- 53: 'I cry, a rope! a rope!' 

Again, the remark may be a quibble on his own name. The 
A^^. E. D. gives as one meaning of rope : 'A number of onions strung 
or plaited together.' Cf. Heywood, Proverbs, p. 206: 'Wilt thou 
hang up with ropes of onions.' Earlier in our play (4. 3. 14-6) a 
humorous reference is made to a rope of this character. See also 
Appius and Virginia (4. 151, Dodsley, 1874) : 

Reward. Then for thy reward, then, here is a rope. 
Haphazard. Nay, soft, my masters : by Saint Thomas of Trunions, 
I am not disposed to buy of your onions. 

Parrots were taught to cry 'rope.' Onion's remarks were intended 
to cause laughter, and the expression under consideration may refer 
as well to parrots as to hanging or onions. Cf. Taylor, p. 265, 
Epigram 31: 

Why doth the Parrat cry a Rope, a Rope? 
Because hee's cag'd in prison out of hope. 

In this connection, see Butler, Hudibras i. i. 549-52; Magnetic Lady 
6. loi ; Coin, of Errors 4. 4. 44-6. 

4.7.68,70. garlique. In Dekker, Satiromastix (IVks. 1.201), 
Tucca says to Horace (supposed to be Jonson) : 'Demetrius shall 
write thee a Scene or two in one of thy strong garlicke Comedies ; 
and thou shalt take the guilt of conscience for't, and sweare 't is 
thine owne olde lad, 't is thine owne.' 

4- 7- 73-5- deliuer, etc. Plautus, Aul. 634: 

Eve. Redde hue sis. Str. Quid tibi uis reddam? 
Eve. Rogitas ? 

4- 7- 75-7- wouldst thou shew me thy hands, etc. Plautus, Aul. 
640-1 : 

Eve. Ostende hue manus. 
Str. Em tibi, ostendi : eccas. Eve. Video. Age 
ostende etiam tertiam. 



1 66 The Cafe is Alterd [Act 4 

Also 649-50: 

Eve. Age rusum ostende hue manum 
Dexteram. Str. Em. Eve. Nunc laeuam ostende. 

Str. Quin equidem ambas propero. 

Whalley has pointed out Jonson's indebtedness to Plautus, in regard 
to this scene. 

4. 7. 75-87. The speeches in this scene are a mixture of prose and 
verse, intended no doubt to show the excitement of the participants. 
Even Juniper and Onion resort to verse. That such verses occur 
more than once would seem to show they were not accidental. 

Several speeches by Jaques and Juniper, not considered as verse 
by Gifford, may possibly be regarded as such : 

Jaq. O thou wouldst have me tell thee, wouldst thou? 

Shew me thy hands, what hast thou in thy hands ? 
Jun. Here be my hands. 
Jaq. Stay, are n't thy fingers' ends begrimed with dirt? 

No, thou hast wiped them. 
Jun. Wiped them ! 
Jaq. Ay, thou villain ; 

Thou art a subtle knave. Put off thy shoes ; 
Come, I will see them ; give me a knife here, Rachel, 
I'll rip the soles. 
Oni. [ahove.^ No matter, he's a cobler, he can mend them. 
Jun. What, are you mad, are you detestable? 
Would you make an anatomy of me? 
Think you I am not true orthography? 

4. 7. 85. What are you mad. Plautus, Aid. 642-3 : 

Laruae hunc atque intemperiae insaniaeque 

agitant senem. 
Facin iniuriam mihi an non? 

4- 7- 95-7- let me see these drums, etc. Plautus. Aul. 646-7: 
Eve. Agedum, excutedum pallium. 
Str. Tuo arbitratu. Eve. Ne inter tunicas habeas. 

bombard slops. 'Bombard,' as a noun, referred to a species of 
cannon. From a resemblance to the latter, its meaning was made 
to include a large leather jug or bottle for holding liquor. See 
Mercury Vindieated 7.235; Masque of Augurs 7-414; Tempest 
2. 2. 21 ; I Hen. IV 2. 4. 497 ; and Hen. VIH 5- 4- 85. When large 
loose breeches became the fashion, they received the name of 
'bombards,' from their resemblance to the leather bottles : 'Bombards 



Act 4] Notes 167 

was a style of breeches worn in the seventeenth century, before the 
introduction of tight-fitting knee-breeches. They reached to the knee, 
and were probably so named because they hung loose and resembled 
the leathern drinking-vessels called bombards.' — C. D. Neither the 
A'^. E. D. nor the C. D. gives bombard as an adjective. The noun 
was used in combinations, such as, bombard-like, bombard-man, 
bombard-phrase, bombard-style. Jonson used three of these: 'bom- 
bard-man,' Masque, Love Restored 7. 203 ; 'bombard-phrase,' Trans. 
Horace, Art of Poetry 9. 87 ; 'bombard-style,' Epigram iss 8. 234, 
467. Among these may be classed the 'bombard slops' of our text. 
The usual term, however, for this loose style of breeches, was 
'slops.' Originally large, their size was further emphasized by 
stuffing them with hair, cotton, rags, etc. : Strutt (3. 84) : 'These 
slops or breeches, or trunk hose, they used to stuff out with rags, 
or such-like stuff, till they brought them to an enormous size.' 
Bulwer tells of a gallant who stuffed his with bran {Man Trans- 
formed, pp. 541-2, London, 1653). Peck relates the same incident 
in his Desiderata Curiosa (2.575, London, 1779). Peck (2.576), 
quoting from Bulwer (p. 542), speaks of a man who was brought 
before a judge for violating the law against stuffed breeches. In 
these were found a pair of sheets, two table cloths, ten napkins, 
four shirts, a brush, glass, and comb, with night caps, and various 
other articles. The same account is given by Strutt (3.84), and by 
Weber in his edition of Beaumont and Fletcher (IVks. 5.458). 
See Wright, Passions of the Minde (p. 332, London, 1604, 1630) : 
'Sometimes I have seene Tarleton play the Clowne, and use no other 
breeches, than such slops or slivings, as now many Gentlemen weare, 
they are almost capable of a bushell of wheate, and if they be of 
sacke-cloth, they would serve to carry Mawlt to the Mill. This 
absurd, clownish and unseemely attyre, only by custome now, is not 
misliked, but rather approoved' ; Every Man In 1.45-6: 'I'll go 
near to fill that huge tumbrel-slop of yours with somewhat, an I 
have good luck : your Garagantua breech cannot carry it away so.' 
In Greene, Looking-Glasse for London {Wks. 14. 105-6), Adam, a 
servant, enters 'with a bottle of beere in one slop, and a great peece 
of beefe in an other.' The N. E. D. says : 'In the Geneva, Bishops', 
and Douay Bible, sloppes is employed in rendering Isa. 3. 20.' Don 
Pedro {Much Ado 3. 2. 34-7) speaks of Benedick as appearing 'in 
the shape of two countries at once, as a German from the waist 
downward, all slops, and a Spaniard from the hip upward, no 
doublet.' 

• Various qualifying words were used — 'Dutch' : Middleton, Roar- 
ing Girl {Wks. 4-53); 'French': Rom. and Jul. 2.4.47; 'Spanish': 



1 68 The Cafe is Alterd [Act 4 

Alchemist 4.146; Dekker, Guls Horne-booke (Pr. Wks. 2.210); 
'green': Beaumont and Fletcher, Pro^/i^f^jj (W^^.y. 8. 281) ; 'great': 
Alchemist 4.96; Marston, Antonio and Mcllida, Pt. i {Wks. 1.83) ; 
Middleton, No Wit, No Help {Wks. 4.308); 'side': Greene, 
Mainillia {Wks. 2.19); Peele, Old Wives Tale i. 1.36; 'round': 
M.zr\o-we:, Faustus {Wks. 1.230); Greene, Reports of the Shepheards 
{Wks. 6.57); 'dangling': Beaumont and Fletcher, Scornful Lady 
{Wks.3.u). 

Additional examples may be found in Sidney, Arcadia (p. 85, 
ed. Friswell, London, 1867) ; L, L. Lost 4.3.59; i" Hen. IV 1.2.35; 
Beaumont and Fletcher, Mad Lover {Wks. 6. 134) ; Middleton, 
Blurt, Master-Constable {Wks. 1.26, 80); Every Man In i. 102-3. 
Consult Fairholt, Costume (1.237, 263; 2.371), for a description, 
with numerous prints, of this garment. 

4. 7, gg-ioi. this rug, this hedghogs nest, etc. See Dekker, Guls 
Horne-booke {Pr. Wks. 2. 229) : 'Long haire will make thee looke 
dreadfully to thine enemies, and manly to thy friends'; T. Night 
1.3. 99-101: 

Sir And. O, had I but followed the arts ! 

Sir Tob. Then hadst thou had an excellent head of hair. 

4. 7. 104-6. Cf. Every Man In i. 46 : 

Yet my troubled spirit's somewhat eased, 
Though not reposed in that security 
As I could wish. 

4. 7. 105. His was used as the genitive of it as well as of he. 
In this instance the use of his may be due to the personification of 
fear. Cf. our text, 4. i. 13. See Grammar 9.297; Abbott 228, 229; 
Franz 203-14. 

4. 7. 117. Preposition omitted after scape. This was frequently 
the case after verbs of motion (Abbott 198; Franz 630). 

4. 7. 129. drinke it greedily with both mine eares. The same 
figure is used by Shakespeare, Rom. and lid. 2. 2. 58: 'My ears have 
not j^et drunk a hundred words.' The figure is an old one, as 
Theobald points out (p. 220). See Ovid, Tr. 3.4.39-40: 
Nostra tuas vidi lacrymas super ora cadentes. 
Tempore quas uno, fidaque verba, bibi. 

Also Horace, Od. 2.13.30; Propertius 3.6.8. 

4. 7. 141. My feete part from you, but my soule dwels with 
you. Plautus, Aul. 181 : 

Nunc domum properare propero : nam egomet sum hie, 
animus domist. 



Act 4] Notes 169 

4. 7. 142-3. fortune my foe. The title of a popular ballad sung 
to the tune of Fortune. There were many variations of the ballad, 
and numerous parodies. Chappell (i. 162) published the words of 
one version, and the music. There are twenty-two stanzas, of which 
the following is the first : 

Fortune my foe, why dost thou frown on me? 
And will thy favours never greater be? 
Wilt thou, I say, for ever breed me pain, 
And wilt thou not restore my joys again? 

In Brome, Antipodes {Wks. 3.283), the song is whistled. The 
expression Fortune iny foe was freely used by writers : Gipsies 
Metamorphosed 7. 385 : 'I swear I'll never marry for that, an't be 
but to give fortune, my foe, the lie' ; Hen. V 3. 6. 41 : 'Fortune is 
Bardolph's foe, and frowns on him'; Harvey, Foure Letters {Wks. 
I. 178) : 'Who euer hearde me complaine of ill-lucke, or once say. 
Fortune my foe'; Nabbes, Unfortunate Mother (O. E. Plays 2. 
154) : 'Fortune hath bin my Matchiaveile.' 

For other examples, see Chaucer, Troilus i. 837 ; Merry Wives 
3.3.69; Lyly, Maydes Metamorphosis (Wks. 3.358); Beaumont 
and Fletcher, Knight of the Burning Pestle (Wks. 2.225), and 
Custom of the Country (Wks. 4.394); Greene, Pinner of Wake- 
field (Wks. 2. 170, ed. Dyce) ; Returne from Parnassus (p. 29) ; 
Chappell (i. 162-4); Brewer, Lingua (5.166, Dodsley, 1825). 

Horace remarks on the hostility of Fortune (Sat. 2. 8. 61 ; cf. 2. 2. 
126) : 'Heu, Fortuna, quis est crudelior in nos Te deus.' 

4. 7. 148. panurgo. Probably a reference to Panurge, a humor- 
ous character in Rabelais' History of Gargantua and Pantagruel. 
Cf. Every Alan In 1.46: 'Your Garagantua breech cannot carry it 
away so.' Pantagruel is mentioned in The New Inn 5. 325. 

4. 7. 161. Of for on (Abbott 175; Franz 520). 

4.7.163. To was omitted before the indirect object of say 
(Abbott 201, 220). 

mad Greeke. 'A merry fellow, a roysterer, a boon companion, 
a person of loose habits.' — A^. E. D. 'The Greeks were proverbially 
spoken of by the Romans, as fond of good living and free pota- 
tions ; and they used the term graecari, for to indulge in these 
articles.' — Nares. The word pergraecor is defined : 'To live like the 
Greeks (revel, carouse).' See Plautus, Mostellaria i. 1.21: 'Dies 
noctesque bibite pergraecamini' ; and Julius Paulus, Ex Fest. (p. 
215, ed. Miill.) : 'Pergraecari est epulis et potationibus inservire.' 
Cf . Juvenal, Sat. 3. 78 : 'Graeculus esuriens' ; and see Mayor's edi- 
tion of the Satires (i. 191) for references on this passage. Cf. also 



lyo The Cafe is Alterd [Act 4 

Volpone 3. 254 : 'Let's die like Romans, Since we have lived like 
Grecians.' 

Reference to the Greeks, such as the one in our text, are of 
course not to be construed literally. Some qualifying v^rord was 
generally used, such as merry, mad, foolish — 'merry' : Troi. and 
Cres. 4. 4. 58 : 'A wof ul Cressid 'mongst the merry Greeks' ; of. ib. 
1.2. 119; Beaumont and Fletcher, Woman's Prize (Wks. 7.132): 
'Go home, and tell the Merry Greeks that sent you' ; New Inn 5. 
337; Tale of a Tub 6.190; Dekker, Guls Horne-booke (Pr. Wks. 
2. 227) ; and cf. Matthew Merrygreek, the parasite in Ralph Roister 
Doister; 'mad': Dekker, Shoemaker's Holiday {Wks. 1.23): 
'Drinke you mad Greekes, and worke like Trojans'; Pan's Anniver- 
sary 8. 43 ; Dekker, lests {Pr. Wks. 2. 349) ; Return from Parnassus 
(P- 33)- See Jonson's 'Character' of Coryat {Crudities i. 17, 
Glasgow, 1905) : 'Hee is a mad Greeke, no lesse than a merry.' 
'Foolish' occurs: T. Night 4. i. 19: 'Foolish Greek, depart from me.' 

4. 7. 167. gold is but mucke. The proverb in Hazlitt runs : 
'Muck and money go together' (p. 286) ; and 'Riches are like muck, 
which stink in a heap, but spread abroad, make the earth fruitful' 
(P- 325). See Bacon, Essays ('Seditions and Troubles') : 'Money 
is like muck, not good except it be spread.' 

The first example given by the A^. E. D. of 'muck' used to mean 
money is: a 1300, Sarniun xx. in E. E. P. (1862) 3: 'The wrecchis 
v/ringit the mok so fast up ham silf hi nul noght spened.' See 
Occleve, De Reg. Princ. 1632: 'But they that marien hem for muck 
& good Only, & noght for loue.' Spenser used the word with the 
same sense {Faerie Queene 2.7.10; 3. 10.31). See also Dekker, 
Deuils Anszver {Pr. Wks. 2. 136) ; Massinger, City Madam {Wks. 
4.71); and cf. Coriolanus 2.2.129-30; Cymbeline 3.6.54; Jack 
Drum's Entertainment (Simpson, Sch. of Shak. 2. 138). 

Professor Cook referred me to the 'Man with the muck-rake' in 
Bunyan's Pilgrim's Progress (Pt. 2). Chaucer used 'mokeren' (to 
heap up) and 'mokerers' (heapers up, hoarders) with reference to 
riches {Bocce 425). 

4. 7. 168. an eye to the maine chance. The main chance was 
'a term in the game of Hazard. In quotations, only fig. and allusive. 
. . . Phrases, To look, have an eye, etc., to the main chance: To 
use one's best endeavors, be solicitous (about some object).' — 
A^. E. D. In the C. D., the game is briefly explained thus : 'The 
players are a caster and any number of setters. . . . The caster 
first calls a main— that is, he calls any of the numbers 5, 6, 7, 8, or 
9. He then throws his chance. If this is 2, 3, 11, or 12, it is called 
crabs and he loses, unless the main were 7 and he throws 11, or the 



Act 4] Notes 171 

main were 6 or 8 and he throws 12. In these cases, and also if he 
throws the main, his throw is called nick, and he wins. If he throws 
neither crabs nor nick, he must continue to throw until he again 
throws the main or his chance; if he throws the former first, the 
setter wins, if the latter the caster wins.' For a more complete 
explanation, see Encycl. Brit., nth ed. (s. v. Hazard), or Seymour, 
Com pleat Gamester (pp. 252-5, London, 1739). 

The following are some examples of the use of the expression : 
Wilson, Three Ladies of London (6. 343, Dodsley, 1874) : 'Trust 
me, thou art as crafty, to have an eye to the main-chance as the 
tailor, that out of seven yards stole one and a half of durance' ; 
2 Hen. VI I. I. 208-12: 

Sal. Then let's make haste away, and look unto the main. 
War. Unto the main ! O father, Maine is lost, . . . 
Main chance, father, you meant. 

Also I Hen. IV 4. 1.47; 2 Hen. IV 3. 1.83; Nashe, Foure Letters 
{Wks. 1.330) ; Greene, Disputation (Wks. 10.269) ; Lyly, Euphues 
(Wks. 1.245) ; Hazlitt, Proverbs (1869, P- 269). 

4. 7. 181-2. most sumptuously attired. Though the extravagance 
in men's dress at this time was not quite so marked as during the 
reign of Henry VIII, it was sufficient to evoke criticism. See Har- 
rison (i. 168) : 'And as these fashions are diuerse, so likewise it 
is a world to see the costlinesse and the curiositie : the excesse 
and the vanitie : the pompe and the brauerie : the change and the 
varietie: and finallie the ficklenesse and the foUie, that is in all 
degrees : in somuch that nothing is more constant in England than 
inconstancie of attire'; Seruingmans Comfort (p. 154) : 'Trust me, 
I holde this excessiue costly Apparell a great cause why Gentlemen 
cannot maynteyne their wonted and accustomed bountie and lib- 
eralitie in Hospitalitie & house-keeping : for when as the Mercers 
booke shall come, Item for so many yardes of Cloth of Golde, of 
Siluer, Veluets, Sattin, Tafifata, or such lyke ware : the Goldsmithes 
Debet for Chaynes, Ringes, Jewels, Pearles, and precious Stones : 
the Taylors Bill, so much for such a Sute of laced Satten, and such 
lyke superfluous Charges, amounting in one yeere to more then the 
reuenues of his Landes' ; Dekker, Seuen Deadly Sinnes (Pr. Wks. 
2. 59) : 'An English-mans suite is like a traitors bodie that hath 
beene hanged, drawne, and quartered, and is set vp in seuerall 
places : his Codpeece is in Denmarke, the coller of his Dublet and 
the belly in France: the wing and narrow sleeue in Italy: the short 
waste hangs ouer a Dutch Botchers stall in V trick: his huge sloppes 
speakes Spanish: Polonia giues him the Bootes.' 



172 The Cafe is Alterd [Act 4 

In Every Man Out, in the character of Fastidious Brisk, Jonson 
satirized the tendency of following the fashions in dress. See also 
Discoveries 9. 181. References to Jonson's works, dealing with this 
subject, will be found in the Introduction (p. xxv, note 91) ; cf. 
T. of Shrew 4.3.55-8; 5.1.68-70; M. of Venice 1.2.79; Hamlet 
1.3.70-4; Middleton, Father Hubbard's Tales {Wks. 8.68-71); 
Traill (3.159, 274, 387); Stubbes (1.26-87). In the last (p. 239), 
many other examples may be found. 

Statutes were enacted to check the extravagance in apparel, and 
to regulate what the different classes should wear (Traill 3. 161, 
388). Cf. Gosson (p. 39). For historical treatises, see Fairholt 
{Costume) ; Hill, History of English Dress (N. Y., 1893) ; Ash- 
down, British Costume During XIX Centuries (London and Edin- 
burgh, 1910). 

4.7.190. gudgeon. The word occurs again in the Alchemist 
(4. 76) with the sense of a credulous or gullible person, used 
figuratively, one of the original meanings being a small fresh-water 
fish. Cf. M. of Venice 1. 1. 102. 

4. 8. 2. Neuer was man so palpably abusd. Plautus, Capt. 
656-7 : 

Ita mi stolido sursum uorsum os subleuere offuciis. 
Hicquidem me numquam irridebit. 

4.8.14-5. The true Chamount set free, etc. Plautus, Capt. 

654-5 : 

Illic seruom se assimulabat, hie sese autem liberum. 
Nuculeum amisi, reliqui pigneri putamina. 

4. 8. 24-6. This speech was arranged by Whalley and Gifford : 
Count F. Monsieur Gasper ! 

On what occasion did they change their names, 
What was their policy or their pretext? 

4.8.29-31. Cf. Every Man Out 2.183: 'If the Adalantado of 
Spain were here he should not enter.' 

Amurath. There have been five sultans of this name: Amurath 
I (reigned 13S9-1389) ; H (1421-1451) ; HI (i574-i595) ; IV 
(1623-1640) ; V (May to Aug., 1876). 

The appearance of Marlowe's Tamburlaine (1587) seems to have 
made the Turks popular subjects for the drama. The following 
may be given as typical: Marlowe, Jew of Malta (1590) ; Soliman 
and Perseda (1592) ; Peele, Battle of Alcazar (1594) and Turkish 
Mohamet (never published) ; Tragical Reign of Selimus (1594) ; 
Greene, Alphonsus of Arragon (1599) ; Life and Death of Captaine 
Thomas Stukeley (1605) ; and Mason, The Turke (1610). 



Act 4] Notes i73 

In the Battle of Alcazar, the name 'Amurath' appears about 30 
times. In Alphonsus of Arragon, it is 'Amurack, the Great Turk.' 
See also 2 Hen. IV 5. 2. 48 : 'Not Amurath an Amurath succeeds, 
but Harry, Harry.' 

For an account of the Turks in English literature, see Conant, 
The Oriental Tale in England in the Eighteenth Century (N. Y., 
1908). 

4. 8. 39. My sences loath the Sauiour of thy breath. Cf . Every 
Man Out 2. 136 : T can but faintly endure the savour of his breath.' 

4.8.40. The second syllable of poyson is softened (Abbott 470). 

4.8.43. Fetchr forth that Gasper. In a note to this passage, 
Whalley refers to the Captivi of Plautus as the source of this plot 
in our play. 

4.8.55. The verbal, used as a noun, was often followed by of 
when the did not precede (Abbott 178, 373; Franz 667). 

4. 8. 59. We vow'd one mutual! fortune, good or bad. Cf. Mar- 
lowe, J Tamburlaine (Wks. 1.44) : 'Vowing our loves to equal death 
or life.' 

4.8.60. Of used for by (Abbott 170; Franz 519). 

4. 8. 86-8. thou ill-bred slaue, 

That sets no difference twixt a noble spirit. 
And thy owne slauish humour. 

Cf. Every Man In i. 149, note (original edition) : 

But that this barren and infected age 

Should set no difference 'twixt these empty spirits 

And a true poet. 

Poetaster 2. 387 : 

When, would men learn but to distinguish spirits. 
And set true difference 'twixt those jaded wits . . . 
And the high rapture of a happy muse. 

4.8.89-91. But ile take worthy vengeance on thee, etc. Plau- 
tus, Capt. 681-2 : 

He. At cum cruciatu maxumo id factumst tuo. 
Tyn. Dum ne ob malefacta peream, parui existumo. 

Alas, these threats are idle, like the wind, etc. Cf. /. Ccesar 
4- 3- 66-9 : 

There is no terror, Cassius, in your threats. 
For I am arm'd so strong in honesty 
That they pass by me as the idle wind. 
Which I respect not. 



174 The Cafe is Alterd [Act 5 

4. 8. 92-3. thou shalt want no torture, . . . bring him away. 

Plautus, Capt. 721-3 : 

Ducite, 
Vbi ponderosas crassas capiat compedes : 
Inde ibis porro in latomias lapidarias. 

4. 8. 94. Welcome the worst, I suffer for a friend. Plautus, 
Capt. 687-8 : 

Aleumque potius me caput periculo 
Praeoptauisse quam is periret ponere. 

4.8.95. Your tortures will . . . end. Plautas, Capt. 742-3: 
Et si peruiuo usque ad summam aetatem, tamen 
Breue spatiumst perferundi quae minitas mihi. 

4. 8. 1 13-4. this Steele shall engraue it on his burgonet. Cf. 

Greene, Selimus {Wks. 14.285) : 

But we shall soone, with our fine tempered swords, 
Engraue our prowesse on their burganets. 

And 2 Hen. VI 5.1.200: 'And that I'll write upon thy burgonet.' 

ACT V 

5. 1. 6-7. Renounce this boy-gods nice idolatry, 

Stand not on complement, and wooing trickes. 

Cf. Every Man In i. 90 (original edition) : 

Cosen, lay by such superficiall formes, . . . 
Stand not so much on your gentility. 

5. I. 10. Here and in nearly all the instances that follow, laqucs 
is to be read as a disyllabic (Abbott 489). 

5. 1. 12-4. Whalley and Gifford formed two verses of these lines, 
the first being: 

Shalt be his son-in-law. 
Chris. He has. 
Aug. He has ! 

The changes of this character, which Whalley and Gifford found it 
necessary to make in the text of the remaining scenes, are so 
numerous that it would require too much space to record them. No 
attempt, therefore, will be made to do so. 

5. 1. 17. Why he is more inconstant then the sea. Cf. The 
Forest 8.264: '[Love is] Inconstant, like the sea, of whence 'tis 
born.' 



Act 5] Notes 175 

5. 1. 18. His thoughts, Cameleon-like, change euery minute. 
The change in color, characteristic of the chameleon, is mentioned 
by Pliny, Hist. Nat. 8. 51 : 'Et coloris natura mirabilior : mutat 
namque eum subinde, et oculis, et cauda, et toto corpore, redditque 
semper quemcunque proxima attingit, praeter rubrum candidumque.' 
Cf. Aelian, De Nat. Anim. 2. 14. Aristotle (De Part. Anim. 4. 11) 
attributes the change in hue to fear. 

See T. G. of Verona 2.4.23-6: 

Sil. What, angry, Sir Thurio ! do you change colour ? 
Val. Give him leave, madam ; he is a kind of chameleon. 

Greene, Mamillia, Pt. i (Wks. 2. 120) : '[Love is] more variable 
in thought then ye Camelion in hue'; Nashe, Pierce Penilesse 
(Wks. 1.224) '• 'He grew in league with an old Camelion, that could 
put on all shapes, and imitate any colour, as occasion serued.' 

'From their inanimate appearance, and power of existing for 
long periods without food, they were formerly supposed to live on 
air.' — N. E. D. For references to this belief, see Pliny, Hist. Nat. 
8.51; Ovid, ikf^iam. 15. 411 ; Hamlet 3.2. gj; Lyly, Endimion (Wks. 
3.50); Greene, Groats-worth of Wit (Wks. 12.133). Bond (see 
Lyly above) refers to Bartholomaeus Anglicus, De Prop. Reruni 
18.21. See also Purchas, Hakl. Posth. 4. 12 (Glasgow, 1905). 

Additional references to the chameleon : Volpone 3. 279 ; Staple 
of News 5.221; T. G. of Verona 2.1. 178; 3 Hen. VI 3. 2. 191; 
Drummond, Poems 2. 24,9, (ed. Ward, N. Y. and London, 1894) ; 
Dekker, Wonderfull Yeare (Pr. Wks. i. 117), Seuen Deadly Sinnes 
(Pr. Wks. 2.21); Chapman, Monsieur D'Olive (Wks. 1.223); 
Lodge, Reply to Stephen Gosson (Wks. 1.25) ; Poole, Eng. Parnas- 
sus (p. 273, London, 1657) ; Nashe (Wks., ed. McKerrow, index) ; 
Greene (Wks., ed. Grosart, index) ; Phipson, Animal-Lore (1883, 
pp. 310-2). Many others may be found in the N. E. D. 

5. 1. 24. bid thy hands shed golden drops. This expression is 
reminiscent of the incident referred to in The Alchemist 4. 112: 

Heighten thy self, talk to her all in gold; 
Rain her as many showers as Jove did drops 
Unto his Danae. 

5. 1. 25. Let these bald french crownes be vncouered. The 
quibble here is obvious. The expression was frequently used with 
a pun for 'top of the head,' and with reference to the baldness 
produced by the 'French disease' : Beaumont and Fletcher, Mon- 
sieur Thomas (Wks. 7.320) : 'Leave me your rotten language, and 
tell me plainly, and quickly sirrah, lest I crack your French crown' ; 



T76 The Cafe is Alterd [Act 5 

M. N. Dream i. 2. 99 : 'Some of your French crowns have no hair 
at all.' Cf. Cynthia's Revels 2. 232 : 

'Aso. 'T is a beaver, it cost me eight crowns but this morning. 

Amo. After your French account?' 

See also Meas. for Meas. 1.2.52; All's Well 2.2.24; Dekker, 
Deuils Answer (Pr. Wks. 2. 138). 

For references to the coin, French crown, see Harrison (1.364) ; 
Every Man Out 2. 52 ; 2 Hen. IV 3. 2. 237 ; Hen. V 4. i. 245. 

5.1.26. Read obeysance as a quadrisyllable (Abbott 479). 

5. 1.34. Both Whalley and Gifford inserted But at the beginning 
of this line, making the verse end with out. However, if the con- 
traction in the first He is disregarded, the verse will have the 
required number of syllables. 

5.1.39. S. Foyes. Plautus, Aul. 582-3: 

Nunc hoc mihi factumst optumum, ut ted auferam, 
Aulam, in Fidei f anum : ibi abstrudam probe. 

The name Foyes was probably suggested by the above temple of 
Fides. However, see Beaumont and Fletcher, Knight of the Burst- 
ing Pestle (Wks. 2.217) : 

But in the dark will wear out my shoe-soles 
In passion in Saint Faith's church under Paul's. 

In a note to this passage, the editor cites Stow, Survey 3. 145 (ed. 
1720) : 'At the west end of this Jesus Chappel, under the Quire 
of Pauls, also was, and is, a Parish Church of St. Faith, commonly 
called St. Faith under Pauls.' 

5. 1.43-6. These lines will admit of a metrical arrangement: 

Jaq. [within.] Who calls? who's there? 

Ang. Jaques. 

Jaq. [within.] Who calls? 

Ang. Steward, 

He comes, he comes. — ^Jaques. 

Jaq. What voice is this? 

5. 1. 53. My deere Lar. In the Aulularia of Plautus, the house- 
hold god speaks the Prologue. 

5. 1. 57. Musicall as the spheares. An allusion, of course, to 
the familiar theory originated by Pythagoras. See Chaucer, Park' 
jnent of Pontes 60-3 : 

And after that the melodye herde he 
That Cometh of thilke speres thryes three, 
That welle is of musik and melodye 
In this world heer, and cause of armonye. 



Act 5] Notes i77 

Cf. Dekker (quoted in Park's Heliconia 3. 447) : 

Bridegroome of morning, dayes eternall king, 

To whom nine Muses (in a sacred ring) 

In daunces sphericall, trip hand in hand, 

Whilst thy seaven-stringed lute theyr feete commaund; 

Whose motion such proportioned measure beares, 

That to the musicke daunce nine heavenly spheares. 

M. of Venice 5. 1.60: 

There's not the smallest orb which thou behold'st 
But in his motion like an angel sings. 

Brewer, Lingua (5. 166, Dodsley, 1825) : 

I hear the celestial music of the spheres, 
As plainly as ever Pythagoras did. 

See also Cynthia's Revels 2.223; Poetaster 2.389; Staple of News 
5-253; Sad Shepherd 6. 281; Prince Henry's Barriers 7. iS3 1 Epi- 
gram 130 8. 230 ; Underwoods 9. 38 ; Dante, Par. i. 78 ; 6. 126 ; Purg. 
30.93; As You Like It 2.7.6; T. Night 3. 1. 121 ; Ant. and Cleo. 
5.2.84; Pericles 5.1. 231; Lodge, Reply to Stephen Gossan (Wks. 
1.25); Webster, Duchess {Wks. i. 199) ; Dekker, Roaring Girl 
{Wks. 3.203) ; Middleton, Family of Love {Wks. 3-49) ; Brewer, 
Lingua (5.166, Dodsley, 1825); Montaigne, Essays 1.22; Browne, 
Religio Medici 2. 9; Milton, Nativity Ode 13, and P. L. 5. 169, 177-9. 
620-7. 

For various theories, arranging the planets so as to form a 
diapason, or octave, see Nicomachus, Enchirid. Harm., ed. Meibom, 
p. iTi'') Censorinus, De Die Nat. chap. 13. Cf. Pliny, Hist. Nat. 
2.22.20; Plato, Timaeus 35; Cicero, Somn. Scip. chap. 5, and De 
Nat. Dear. 3. 11. These are from Professor Cook's article, cited 
below. 

Aristotle, De Caelo 2.9, and Aquinas (on Job 38.37), oppose the 
theory of the music of the spheres. 

For a valuable note discussing the subject, together with a long 
list of references, see Albert S. Cook, 'Notes on Milton's Ode on 
the Morning of Christ's Nativity' {Transactions of the Connecticut 
Academy of Arts and Sciences 15.342-4). 

5.1.62-3. laques shall be a king. Plautus, Aul. 704: 
Ego sum ille rex Philippus. O lepidum diem. 

5. 1. 64. To a fooles paradice. 'A state of illusory happiness or 
good fortune; enjoyment based on false hopes or anticipations.' — 
N. E. D. The earliest quotation of this expression given by the 
N. E. D. dates from 1462 : Paston, Letters (no. 457) 2. 109, ed. 



178 The Cafe is Alterd [Act 5 

Gairdner, London, 1874: 'I wold not be in a folis paradyce.' See 
Rom. and Jul. 2.4. 175: 'If ye should lead her into a fool's paradise, 
. . . it were a very gross kind of behaviour' ; Dekker, Seuen 
Deadly Sinnes (Pr. Wks. 2. 64) : 'Vsurers : who for a little money, 
and a greate deale of trash . . . bring yong Nouices into a 
fooles Paradice.' It will be recalled that Milton (P. L. 3.495) 
writes of 'A Limbo large and broad, since called The Paradise of 
Fools.' Mrs. Browning's use of the expression is also familiar 
(Aurora Leigh 4. 339) : 'Love's fool-paradise Is out of date, like 
Adam's.' 

Other examples may be found in Greene, Mamillia {Wks. 2.99) ; 
Tritameron {Wks. 3.97); Dekker, Deuils Answer {Pr. Wks. 
2.100); Middleton, Family of Love (Wks. 3.12); Robinson, 
Handefull of Pleasant D elites (p. 34, Spenser Soc, 1871) ; Roy, 
Rede me (p. 86, ed. Arber). Nares gives an example from Barnabe 
Rich, Farewell. Johnstone wrote The Reverie or A Flight to the 
Paradise of Fools (1763). A discussion of the expression may be 
found in Notes and Queries (4. 8. 64 ; 6. 5. 7 ; 8. 9. 327, 414, 496 ; 
8. 10.32). 

5. 1. 71. O me no go's. This doubling of words indicated 
impatience at, and a disagreement with, the words of another. 
See Tale of a Tub 6. 149 : 'Pancridge me no Pancridge' ; Richard 
II 2. 3. 87 : 'Grace me no grace, nor uncle me no uncle' ; Rom. and 
Jul. 3. 5. 153 : 'Thank me no thankings, nor proud me no prouds' ; 
Beaumont and Fletcher, Knight of the Burning Pestle {Wks. 2. 164) : 
'Plot me no plots'; Peele, Old Wives Tale {Wks. 1.323) : 'Parish 
me no parishes'; Arden of Faversham 2. i. 106: 'Plat me no plat- 
formes.' See Bartlett, Quotations (p. 861) for a list of examples 
from various writers. 

5. 1. 83. when can you tell. 'A proverbial phrase expressing 
scorn at the demand or menace of another' (Schmidt, Shak. Lex.). 
See I Hen. IV 2. i. 42-5 : 

'Gads. I pray thee, lend me thine. 

Sec. Car. Ay, when? canst tell? Lend me thy lantern, quoth he? 
marry, I'll see thee hanged first.' 

In Marlowe, Edward II {Wks. 2. 171), when Arundel comes to 
the lords with a request from the king to speak with Gaveston, 
after which he was to be sent back, Warwick exclaims : 'When, 
can you tell? Arundel, no.' Jonson used the phrase in Every Man 
In (i. no), first edition, immediately before 'Much wench.* For 
other examples of its use, see Com. of Errors 3. i. 52 ; As You Like 
It 4. I. 133 ; Kyd, Soliman and Perseda (p. 193) ; Marlowe, Faustus 



Act 5] Notes 179 

{Wks. 1.298); Middleton, Blurt, Master-Constable (IVks. 1.77), 
and The Phcenix (IVks. i. I57)- 

5. 1. 88. the God of gold. A reference, of course, to Plutus. 
See T. of Athens i. 1.287: 'Plutus, the god of Gold, Is but his 
steward.' Cf. Hesiod, Th. 969 ; Phaedrus 4. 12. 5 ; Aristophanes, 
Plutus; and the character of the same name in Lucian's Timon. 

The E}icycl. Brit, (nth ed.) says that the custom of regarding 
Mammon as the god of riches had its origin in Milton, P. L. 
I. 679. See Matt. 6. 24; Spenser, Faerie Queene 2. 7. 39 (cf. 2. 7. 8) : 

Suffise it then, thou Money God, (quoth hee) 
That all thine ydle oflters I refuse. 

In Love Restored, Jonson refers to both Plutus and Mammon (7. 
205-7)- 

5.1.90. The insertion of my by Whalley and Giflford seems 
unnecessary, as fair and many other monosyllables ending in r or 
re were frequently pronounced as disyllables (Abbott 480). 

5. 2. — Enter Christ. This should clearly be a new scene. 
Christophero has been to keep his appointment with Angelo and 
Rachel at Saint Foyes, and, not meeting with them, has returned to 
the house of Jaques to see if by chance they might still be there. 
Sufficient time should be given for this. Then, too, Jaques' discovery 
has changed the situation. 

5. 2. 5. O God, the case is alterd. The following is the begin- 
ning of Euclio's frenzied outburst of fourteen lines, six of which 
are addressed to the audience: Plautus, Aul. 713-5: 

Perii, interii, occidi. Quo curram? Quo non 

curram? Tene, tene. Quem? Quis? 

Nescio, nil uideo, caecus eo atque equidem quo eam 
aut ubi sim aut qui sim 

Nequeo cum animo certum inuestigare. 

5. 2. 7-8. mine Angels? wher's my gold? Why Rachel? The 

reminiscence here of Shylock and Barabas has been pointed out by 
Ward (1.346, note). Cf. M. of Venice 2.8.15-7: 'My daughter! 
O my ducats! O my daughter'; Marlowe, Jew of Malta (Wks. 
2-37) '■ 'O my girl, my gold, my fortune, my felicity'; cf. ib., p. 29: 
'My gold ! my gold,' etc. 

There is probably no significance in these resemblances, for, as 
Schelling says : 'Jonson seems to have scorned to borrow ideas from 
the contemporary drama about him, going either to the classics or 
at least to less obvious modern sources' (1.540). 



i8o The Cafe is Alterd [Act 5 

5. 2. 9. Thou eatest my flesh in stealing of my gold. Cf . M. 

of Venice 4. i. 376: 'You take my life When you do take the means 
whereby I live.' In a note to the latter, Halliwell (Variorum ed., 
p. 22y) refers to Ecclesiasticus 34.22: 'He that taketh away his 
neighbour's living, slayeth him.' Cf. also Arden of Faversham 
I. 1.474; Marlowe, Jew of Malta (IVks. 2.24). 

5. 2. 12. Comes instead of coni'st. The t was dropped because 
the next word begins with th (Franz 152). 

5. 2. ig. what Hienna cald me out of dores. That the hj'^ena was 
thought to imitate the human voice, is mentioned by Pliny (Hist. 
Nat. 8. 44) : 'Sed maxime sermonem humanum inter pastorum 
stabula assimulare, nomenque alicuius addiscere, quern evocatum 
foras laceret.' See also Bartholomaeus Anglicus (p. 368) : 'The 
Hiena . . . commeth to houses by night, and feineth mannes 
voyce as hee maye, for men should thinke that it is a man.' The 
N. E. D. quotes the following from the Geneva Bible (1560), Eccle- 
siasticus 13.19: 'What felowship hathe hyena {marg. Which is a 
wilde beaste that counterfaiteth the voyce of men, and so entiseth 
them out of their houses and devoureth them] with a dogge?' 

See also Marston, Eastward Ho (Wks. 3. 115) : 'I will neither 
jaeld to the song of the siren nor the voice of the hyena' ; Greene, 
Groats-worth of Wit (IVks. 12. 114) : 'When this painted sepulchre 
[Lamilia] was shadowing her corrupting guilt, Hiena-like alluring 
to destruction.' 

For other references, see Marbeck, Book of Notes (1581) 488; 
Dekker, Seuen Deadly Sinnes (Pr. Wks. 2.21) ; Nashe, Vnfortunate 
Traveller {Wks. 2.284); and cf. the following: Volpone 3-279; 
Staple of News 5.202; As You Like It 4. i. 156; Lyly, Euphues to 
Philautus (Wks. 1.250). 

5. 3. — Enter luniper, Onion. Gifford adds 'richly dressed, 
and drunk.' We may infer the latter from their actions, and from 
remarks made by Onion. These would seem to imply that Juniper 
is in a worse condition than Onion : 'While I hold my friend' ; 
'You must do more then his legges can do for him'; 'You see in 
what case [condition] he is.' 

5. 3. 5-6. a cupple of buzzards turn'd to a paire of peacocks. 
Cf. Every Man Out 2. 95 : 'O, here be a couple of fine tame parrots.' 
5.3.10. you must inueigle, etc. Achilles served Ajax in the 
same way, Troi. and Cres. 2.3.99-100: 

Nest. What moves Ajax thus to bay at him. 
Ulyss. Achilles hath inveigled his fool from him. 

5. 3. 12. For hei ho, Giflford writes hey ho. The .V. E. D. defines 
the latter as 'An utterance, apparently of nautical origin ; . . . 



Act 5] ' Notes i8i 

often used in the burdens of songs.' A better spelling would per- 
haps be heigh-ho, an exclamation, which the N. E. D. gives, among 
others, as expressing disappointment. 

5.3.31-2. what parentage? what ancestry? what genealogy is 
he? Cf. Every Man In 1.26: 'Thy lineage, monsieur Cob! what 
lineage, what lineage?' 

5. 3. 38. portmantu. Cunningham suggests that this way of 
spelling the word indicates its pronunciation. 

5. 3. 44. Ningle. The same as ingle. See Glossary ; also note 
on I. 1. 26. In Dekker, Satiromastix, Horace is repeatedly called 
ningle: 'Horace, my sweet ningle, is alwayes in labour when I 
come' {Wks. i. 191) ; 'You did it Ningle to play the Bug-beare 
Satyre' (1.259) ! cf. i. 194, 211, 258, 261, 262, and passim. See also 
Massinger, Virgin-Martyr {Wks. 1.27): 'Priapus . . . was the 
only ningle that I cared for under the moon' ; Ford, Witch of 
Edmonton {Wks. 3.220): 'You shall not starve, Ningle Tom, 
believe that'; and ib. (p. 221): 'O, sweet ningle, thy neuf [fist] 
once again ; friends must part for a time.' 

5. 3. 46. discourse? cherish thy muse? discourse? Cf. Poetaster 
2. 428 : 'To him, cherish his muse, go.' 

5.3.47. Of used for about, concerning (Abbott 174; Franz 517). 

5. 3. 48. hang sorrow. Presumably a reference to the proverb : 
'Hang sorrow, care will kill a cat.' Ray (p. 58) adds : 'And yet a 
cat is said to have nine lives.' It is quoted in Every Man In i. 30, 
and in Wither's Christinas Carol. The last part of the proverb 
appears in Taylor, Motto {Wks., 1630, p. 56), and in Much Ado 

5- 1. 133- 

5.3. 57. Speake legibly. Cf. Every Man In 1.30: 'He does 
swear the legiblest.' 

5. 3. 60. nor King nor Keisar shall. Cf . Tale of a Tub 6. 146 : 
'Tell me o' no queen or keysar' ; Spenser, Faerie Queene 6. 3. 5 : 
'This is the state of Keasars and of Kings'; also 3. 11.29; 4.7.1; 
5. 9. 29 ; 6. 12. 28. 

5- 3- 73-4- you must do more then his legges can do for him, 
beare with him sir. Cf. Every Man Out 2. 91 : 

'Fast. Do you know how to go into the presence, sir? 

Maci. Why, on my feet, sir. 

Fast. No, on your head, sir ; for 't is that must bear you out.' 

Poetaster 2. 394 : 'Your legs do sufficiently shew you are a gentle- 
man born, sir ; for a man borne upon little legs, is always a gentle- 
man born.' 

5- 3' 79-82. Cf. Every Man In i. 25 : 



1 82 The Cafe is Alterd [Act 5 

'Step. I'll follow you. 

E. Know. Follow me! you must go before.' 

5.3.94-100. Cf. Every Man In 1.22: 

'E. Know. I did laugh at you, coz. 
Step. Did you, indeed? 
E. Know. Yes, indeed. 
Step. Why then— 
E. Know. What then ? 
Step. I am satisfied ; it is sufficient.' 

lb. I. 116-7: 

'Bob. It is not he, is it? 

E. Know. Yes faith, it is he. 

Mat. I'll be hang'd then if that were he. 

E. Know. Sir, ... I assure you that was he. 

Step. Upon my reputation, it was he. 

Bob. Had I thought it had been he, he must not have gone so : 
but I can hardly be induced to believe it was he yet.' 

Koeppel (Ben Jonson's Wirkung, p. no) has called attention to a 
similar display of cowardice given by Tucca {Poet. 2.464). 

5. 3. loi. A was sometimes omitted after what, in the sense of 
what kind of (Abbott 86). 

5. 4. 9. Sbloud forms the first foot. This license was sometimes 
allowed in the case of monosyllabic exclamations (Abbott 481, 482). 

like a puppet. In a mock-heroic manner. The puppet-shows 
were originally developed from the old English moralities. They 
were usually to be seen at wakes and fairs, and their popularity was 
greatest with the lower classes. At the beginning of the reign of 
James I, they had increased to such an extent that, in order to 
restrict their number, a law was enacted requiring the owners of 
such shows to secure a license. Of this law. Knight (London i. 42) 
says: 'While the people, however, were willing to encourage them, 
it was not very easy for statutes to put them down ; and if there 
were fewer licensed players, the number of unlicensed, who travelled 
about with motions or puppet-shows, were prodigiously increased. 
The streets of London appear to have swarmed with motions.' 

Jonson mentions several masters of puppet-shows : Pod, Every 
Man Out 2. 141 ; Barth. Fair 4.473; Epigram gy 8.200; Epigram 
i2<) 8. 229 ; Cokely and Vennor, Devil is an Ass 5. 13 ; Cokely and 
others, Epigram I2g 8. 229 ; 'Young Goose,' New Inn 5. 320. Cf . 
Gifford's note on Vennor, Masque of Augurs 7. 414. In Satiro- 
nrastix (Wks. 1.243), Dekker calls Horace [Jonson] 'the puppet- 
teacher.' 



Act 5] Notes 183 

An idea of the character of these shows may be gained from their 
titles : Jerusalem, Nineveh, Sodom and Gomorrah, Jonas and the 
Whale, The Prodigal Son, Babylon, London, Norwich, The Gun- 
powder Plot, Rome, Julius Ccesar. The following mention puppet- 
shows : Barth. Fair 4. 473 ; Every Man Out 2. 19, 64 ; W. Tale 
4. 3. 103 ; Beaumont and Fletcher, Knight of the Burning Pestle, and 
Wit at Several Weapons (Wks. 2.185; 4- 12) ; Middleton, Blurt, 
Master-Constable (Wks. 1.8); Spanish Gipsy (6.188); Father 
Hubbard's Tales (8.79) ; Marston, Dutch Courtesan (Wks. 2.51) ; 
Brewer, Lingua (5. 164, Dodsley, 1825). Collier gives a number of 
others (Punch and Judy). 

The following are a few examples: Dekker, Jests (Wks. 2.317) : 
'He thought like Bankes his horse, or the Baboones, or captaine 
Fold with his motion, shee should haue showne him some strange 
& monstrous sighte' ; T. G. of Verona 2. i. 100: 'O excellent motion ! 
O exceeding puppet ! Now will he interpret to her' ; Poetaster 2. 
436: 'What's he with the half arms there, that salutes us out of 
his cloak, like a motion' ; Every Man Out 2. 7 ; Cynthia's Revels 
2.225, 236, 279; Epicane 3.392, 463; Alchemist 4.29, 152; Staple 
of News 5.183; Beaumont and Fletcher, Woman-Hater (Wks. 
1.42) ; Nashe, Pasquill (Wks. 1.91) ; Ford, 'Tis Pity (Wks. i. 145). 

A good example of how a puppet-show was conducted is to be 
found in Barth. Fair 4. 482-508. Another of smaller pretensions is 
given in Tale of a Tub 6. 220-5. See also Don Quixote 2. 26. The 
following give a brief account of puppet-shows: Encycl. Brit, (nth 
ed.) ; Chambers (2. 157-60) ; Strutt (pp. 163-6) ; Alden, Barth. 
Fair (Yale Studies 25. xv-xviii) ; Flogel, Geschichte des Grotesk- 
komischen (2. 1-70). For a more complete study, see Mangnin, 
Histoire des Marionnettcs; Dietrich, Pulcinella; and cf. Collier, 
Punch and Judy. The last contains a typical performance of a 
Punch and Judy show of the i8th century, together with interesting 
engravings by Cruikshank. 

5. 4. 16. Without or touch or conscience of religion. Cf . 
Catiline 4. 244 : 

[Ambition], being both a rebel 
Unto the soul and reason, and enforceth 
All laws, all conscience, treads upon religion, 
And offereth violence to nature's self. 



Jb. 4. 31S 



Dost thou ask 
After a law, that would'st have broke all laws 
Of nature, manhood, conscience, and religion? 



184 The Cafe is Alterd [Act 5 

'This is the Hne which Mr. Collier censures Giflford for not chang- 
ing to "Without a touch of conscience or religion." ' — C. Consider- 
ing the fact that one of the meanings of conscience at that time was 
consciousness, the phrase is intelligible as it stands. 

5, 4. 18-9. formes, that the true scale of friendship Had set 
vpon their faces. Cf. Sejanus 3. 131 : 

But away, 
With the pale troubled ensigns of great friendship 
Stamp'd in your face. 
Whalley says the latter is from Juvenal, Sat. 4. 5. 72- 
5. 4. 26-7. What good thing haue you in you to be proud of? 
Are y' any other then a beggars daughter? 
Cf. Every Man Out 2. 83 : 'Why, what has he in him of such virtue 
to be regarded, ha?' Cynthia's Revels 2.216: 'What are you any 
more than my uncle Jove's pander?' 

5.4.35. Rachel is not to be read as a part of the verse (Abbott 
512). 

5. 4. 62-5. thy tongue . . . Like the rude clapper of a crazed 
bell. Cf. Much Ado 3. 2. 12-3 : 'He hath a heart as sound as a bell, 
and his tongue is the clapper.' 

5. 4. 66. I, that in thy bosome lodg'd my soul. This sentiment 
was expressed by other writers : Richard III 3. 5. 27 : 

Made him my book, wherein my soul recorded 
The history of all her secret thoughts. 

W. Tale 1.2.235: 

I have trusted thee, Camillo, 
With all the nearest things to my heart, as well 
My chamber-councils. 

Beaumont and Fletcher, Little French Lawyer (IV ks. 3.477) : 
To you all secrets of my heart lie open. 
And I rest most secure that whatsoe'er 
I lock up there, is as a private thought. 

Greene, Friar Bacon and Friar Bungay (Wks. 13. 50) : 
Did I unfold the passions of my love, 
And lock them in the closet of thy thoughts. 

Hey wood, Woman Killed with Kindness (Wks. 2. 140) : 
Did I not lodge thee in my bosom? 
Wear thee here in my heart. 

The omission of a verb to go with / was probably intentional. 
Paulo's excitement would excuse such an oversight. 



Act 5] Notes 185 

5-4-73-5' The very owle . . . Shall hoot at thee. The cry of 
the owl was considered an omen of impending calamity. See Virgil, 
^n. 4.462: 

Solaque culminibus ferali carmine bubo 
Saepe queri et longas in fletum ducere voces. 

Also Pliny, Hist. Nat. 10. 12. 16; Lucan 5. 396; Ovid, Metam. 5. 550; 
6.432; 10.453; Chaucer, Parleiuent of Foules 343: 'The oule eke, 
that of deth the bode bryngeth'; i Hen. VI 4.2. 15: 'Thou ominous 
and fearful owl of death'; Epiccene 3.392: 'Before, I was the bird 
of night to you, the owl ; but now I am the messenger of peace, 
a dove.' 

Other references may be found in Chaucer, Legende of Good 
Women 2253-4; Spenser, Faerie Queene 1.9.33; Macbeth 2.2.3; 
Richard HI 4. 4. 509 ; 3 Hen. VI 5. 6. 44 ; Sad Shepherd 6. 249. 

Brand (3. 206) discusses this superstition. 

5.5. 19. Accent peremptory on the first syllable (Grammar 9.266; 
Abbott 492). 

5. 5. 31. The first syllable of unjust (also, unkind, 1. 33) receives 
the accent. Cf. peremptory, 1. 19. 

5. 5. 33- Read through as a disyllable. Cf. Abbott 478 (example 
from 2 Hen. VI 4. i. 87). 

5. 5. 40. Whalley and Gifford wrote think'st thou. The verse 
may perhaps be read without any change of text (Abbott 469, p. 
354): 

My Sonne, | Christo | phero, thinkst | it pos | sible. 

5. 5. 51. hares eyes. The hare's keenness of vision seems to have 
been proverbial. The A^'. E. D. in this connection quotes Carpenter : 
'Its eyes are so situated that the animal can see nearly all around 
it.' See Pliny, Hist. Nat. 11.54; 'Quin et patentibus dormiunt 
lepores, multique hominum. quos Kopv^avnav Graeci dicunt' ; Ste- 
phenson (p. 275) : 'He sleeps like a hare, with his eyes open, and 
that's no good sign' ; Poetaster 2. 426 : 'You walk with hare's eyes, 
do you.' 

5. 5. 63-4. O confusion of languages. A reference to the same 
occurs in The New Inn 5. 320 : 

Host. A strange division of a family! 

Lov. And scattered as in the great confusion! 

Also in Time Vindicated 8. 12. 

5. 5. 66-7. three constant passions. Of a father for his son, a 
lover for his mistress, and a miser for his gold. 



1 86 The Cafe is Alterd [Act 5 

5. 5. 78-9. Is not this pure. 'Pure here means matter for won- 
der, as being such pure human nature.' — C. On the contrary, is not 
pure here used ironically, meaning fine, capital, or excellent? It is 
true that the first illustration in the N. E. D. of the use of the word 
in this sense is 1675, but the situation seems to warrant an ironical 
interpretation. 

5. 5. 105-6. wrong not your age with flexure of a knee. Cf. 
Every Man In 1.25: 'Come, wrong not the quality of your desert, 
with looking downward.' 

5. 5. 109-12. O worthy gentlemen, I am ashamd. Plautus, Capt. 
993-6 : 

Et miser sum et fortunatus, si uera dicitis. 

Eo miser sum, quia male illi feci, si gnatust meus. 

Eheu, quom ego plus minusue feci quam me aequom fuit. 

Quod male feci, crucior : modo si infectum fieri possiet. 

5. 5. 117-32. How long's that since, etc. Plautus, Capt. 980-4: 

Phil. Quam diu id factumst? Stal. Hie annus incipit 

uicensumus. 
Phil. Falsa memorat. Stal. Aut ego aut tu : nam 

tibi quadrimulum 
tuous pater peculiarem paruolo puero dedit. 
Phil. Quid erat ei nomen? Si uera dicis, memoradum 

mihi. 
Stal. Paegnium uocitatust : post uos indididistis Tyndaro. 

5. 5. 119-21. Cha. how old was he then? 

Count. I cannot tel, betweene the yeares of 
three and foure, I take it. 

Cf. Every Man In i. 138: 

'Clem. About what time was this? 

Know. Marry, between one and two, as I take it.' 

betweene the yeares of three and foure. Earlier in the play 
(i. 5. 175-6) Camillo's age is given as two years. 

5.5.126,135. Read tablet as a trisyllable (Abbott 477). 

5. 5. 127. Emperour Sigismund. There was only one of that 
name to hold this title, Sigismund (of Luxemburg), Roman emperor, 
and king of Hungary and Bohemia. He was the son of the emperor 
Charles IV; born 1361, and died 1437. The name has no historical 
significance here. An emperor was introduced to dignify Camillo, 
and one name was as good as an other. 



Act 5] Notes 187 

5. 5. 133. Scan (Abbott 483) : 

Then | no more | my Gas | per? but | Camillo. 

5. 5. 148-9. I deliuered as much before, but your honour 
would not be perswaded. Cf. Every Man In 1.60: 'Your brother 
dehvered us as much' ; Cynthia's Revels 2. 350 : 'I see that come to 
pass, which I presaged in the beginning' ; Poetaster 2. 378 : 'I did 
augur all this to him beforehand'; Epiccene 3.367: 'I presaged thus 
much afore to you.' 

5, 5. 150. I drempt of this. See Mrs. Ott's experience with 
dreams in Epicwne 3.385. In Lyly, Sapho and Phao {Wks. 2. 
405-7), a whole scene is taken up with the relation of dreams. See 
also Endimion's dream (Lyly, Wks. 3.66-7). In Nashe, Terrors of 
the Night (Wks. 1.355), there is a discussion on dreams. 

Shakespeare has many allusions to the subject. The following 
may be given as typical: M. of Venice 2. 5. 18; 2 Hen. VI 1.2. 31 ; 
Troi. and Cres. 5.3.6; Rom. and lul. 5.1.2; /. Caesar 2.2.76, 90; 
Othello I. I. 143. 

For a study on the subject of dreams, the following works will 
be of value: Biichsenschiitz, Tratnn und Traumdeutung in Alter- 
thume (Berlin, 1868) ; Amgraldus, Discourse concerning Divine 
Dreams mentioned in Scripture (tr. Lowde, London, 1676) ; Baake, 
Die Verwendung des Traummotivs in der Englischen Dichtung bis 
auf Chaucer (Halle, 1906) ; Seafield, The Literature and Curiosities 
of Dreams (2 vols., London, 1865) ; and Brand (3. 127). 

5. 5. 156. thirty thousand golden crownes. The crown was an 
English coin first coined by Henry VIII in gold, but since Edward 
VI it has been of silver. Its value was five shillings, which in U. S. 
money (reckoning a shilling as 24 cents) would amount to $1.20. 
Jaques' total loss would therefore be about $36,000. Cf. note on 
5- 1- 25. 

5. 5. 188. Ill gotten goods neuer thriue. Heywood (p. 42) 
writes the proverb : 'Evil-gotten goods never proveth well' ; Ray 
(P- 79) '• 'Ill-gotten goods seldom prosper'; Hazlitt (1907, p. 256) : 
TU-gotten goods thrive not to the third heir.' Both Ray and Haz- 
litt give numerous versions of the proverb in other languages. 
The latter says the idea is in Juvenal, Sat. 14. 303 : 'Tantis parta 
malis cura maiore metuque servantur.' See Mayor's edition of 
Juvenal (2. 344) for references to Greek and Latin writers. 

Cf. Plautus, Poenulus 4. 2. 22 : 'Male partum male disperit' ; 
Cicero, In M. Ant. Orat. Philipp. 2. 65 : 'Male parta male dila- 
buntur' ; j Hen. VI 2. 2. 46 ; 'Things ill-got had ever bad success' ; 
Harrison (p. 7s). 



i88 The Cafe is Alterd [Act 5 

5.5.300. your cake is dow. Your project has failed. The prov- 
erb is used under similar circumstances in T. of Shrew 5. i. 145. 
When Gremio learns that Lucentio is the accepted suitor of Bianca, 
he remarks : 

My cake is dough ; but I'll in among the rest, 
Out of hope of all, but my share of the feast. 

Gremio had used it earlier in the play (i. i. 110). See also Settle, 
Reflections on . . . Dryden's Plays (p. 4, London, 1687) : 'She 
is sorry his Cake is dough, and that he came not soon enough to 
speed.' 

5. 5. 205-6. a couple of my men, were become gallants of late. 
Cf. Cynthia's Revels 2. 219 : 'You are turn'd a most acute gallant of 
late.' 

5.5.214. After conjunctions, the to before the infinitive was 
sometimes omitted (Matzner 3. 17; Abbott 353; Franz 650, Anm. i). 

5. 5. 225. transmutation of elements. A reference of course to 
the theory held by the alchemists that the baser metals may be 
changed into gold. Cf. Alchemist 4. 45 : 

This night, I'll change 
All that is metal, in my house, to gold : 
And, early in the morning, will I send 
To all the plumbers and the pewterers. 
And buy their tin and lead up ; and to Lothbury 
For all the copper. 

T. of Athens 5. 1. 117: 'You are an alchemist; make gold of that'; 
K. John 3. 1.78; New Inn 5.369; Chaucer, Canon's Yeoman's Tale 
972-1481. 

Jonson's most elaborate satire dealing with this theory is The 
Alchemist. Later he treated the subject in a masque, Mercury 
Vindicated. 

In the last 15 years, new interest in the theory has been created 
by the discovery of radium. See Encycl. Brit. (p. 258, nth ed., j-. v. 
Elements) : 'In recent times not only our belief in the absolute 
exactness of the law of the conservation of weight has been 
shaken, but also our belief in the law of the conservation of the 
elements. The wonderful substance radium, whose existence has 
made us to revise quite a number of old and established views, 
seems to be a fulfilment of the old problem of the alchemists. It 
is true that by its help lead is not changed into gold, but radium not 
only changes itself into another element, helium (Ramsay), but 
seems also to cause other elements to change.' 



Act 5] Notes 189 

The Encycl. Brit, gives an extensive list of articles on radium. In 
addition the following general treatises are given (s. v. Radioactiv- 
ity) : Curie, Qiuvres 1908; Rutherford, Radioactive Transforma- 
tions 1906; Soddy, Interpretation of Radium 1909; Strutt, Becquerel 
Rays and Radium 1904;' Makower, Radioactive Substances 1908; 
Joly, Radioactivity and Geology 1909. 

See also Muir, The Story of Alchemy and the Beginnings of 
Chemistry (N. Y., 1903)- 

5. 5. 229. For the which with a repeated antecedent, see Matzner 
3.168; Abbott 270; Franz 337. 

stocks. 'Stocks were used for the punishment of petty offences. 
That they were used by the Anglo Saxons is proved by their often 
figuring in drawings of the time (see Harleian MSS. No. 65). 
Though never expressly abolished, the punishment of the stocks 
began to die out in England during the early part of the 19th cen- 
tury, though there is a recorded case of its use so late as 1865 at 
Rugby' {Encycl. Brit., nth ed.). See Andrews' Bygone Punish- 
ments. 

5. 5, 240. helogabolus. Reminiscent of Heliogabalus, the Roman 
emperor, referred to again in Volpone 3.250, and in The Alchemist 

4- 54- 

5. 5. 277. March faire al. An expression which seems to have 
served as a military command. Neither the N. E. D. nor the C. D. 
comments on it. In our text it is probably used as an indication 
that the play is over, as well as a signal for the players to leave 
the stage. 

See Beaumont and Fletcher, Knight of the Burning Pestle (Wks. 
2.218): 'March fair, my hearts'; Heywood, / Edward IV {Wks. 
1. 26) : 'March fair, ye rogues, all kings or capknitters' ; Greene, 
Orlando Furioso {Wks. 13. 161) : 'March faire, fellow frying pan.' 
Dekker, Shoemaker's Holiday {Wks. 1.70) ; New Inn 5- 3^5- 

5. 5. 277-8. a faire March is worth a kings ransome. Ray (p. 
25) writes the proverb: 'A bushel of March dust is worth a king's 
ransom.' Grose (p. 148) explains the proverb thus : 'England con- 
sisting chiefly of clay lands, a dry March makes them bear great 
crops of corn; wherefore, if in that month the weather is so dry, 
as to make the roads dusty, the kingdom will be benefited to the 
amount of a king's ransom, which, according to the sum paid for 
King Richard I to the Emperor of Germany, was one hundred 
thousand pounds.' Brewer (p. 550) has another explanation for the 
origin and value of 'a king's ransom' : 'According to the Anglo- 
Saxon laws, the fine of murder was a sliding scale proportioned to 
the rank of the person killed. The lowest was £10 and the highest 



19° The Cafe is Alterd [Act 5 

£60; the former was the ransom of a churl, and the latter of a 
king.' 

See Greene, Farewell to Follie (Wks. 9.277) : 'Oft haue I heard 
my Father saie that a husbandman plowed out of the ground three 
things, wealth, health, and quiet, which (quoth hee) is more worth 
then a kinges ransome'; Tusser, Husbandry (ed. Mavor, p. 125): 

March dust to be sold. 
Worth ransom of gold. 

The expression is discussed in Notes and Queries (2.5.272). 



GLOSSARY 

The New English Dictionary and the Century Dictionary have been the 
chief authorities, in preparing this glossary. Considerable aid has been 
furnished also by Schmidt's Shakespeare-Lexicon and Nares' Glossary. 

A dagger before a word or a definition indicates that the word or 
definition is obsolete ; parallel lines, that a word has never been natural- 
ized; an interrogation mark, that the sense is doubtful. 



Abuse, V. jTo deceive, impose 
upon. 4. 8. 2. 

Acceptiue, a. fWilling to ac- 
cept, receive. 2. 7. 67. 

Acquaintance, n. fPhr. to take 
acquaintance of: To acquaint one- 
self with. 4. 7. 120. 

Addicted, ppl. a. fGiven up, 
surrendered. 5. 3. 13. 

Admirably, adv. fWonderfully, 
marvelously. i. i. 80. 

Admiration, n. Wonder, aston- 
ishment, surprise. Arch. 4. 3. 36. 

Affect, V. To fancy, like, or 
love. Arch, or ?obs. 2. 6. 37. 

Afore, adv. Arch, and dial. Be- 
fore, in advance, i. 5. 209. 

Agone, ppl. a. [Form of ago.] 
[From iago, v., to pass.] Arch. 
and dial. Gone by; ago. 1. 1. 153. 

Amaze, v. fTo bewilder, con- 
found, perplex, i. 5. 69. 

Amazed, ppl. a. fi • Terror- 
stricken, terrified, alarmed. i. 5. 
186. 

t2. Bewildered, confounded. 5. 

5- 135- 

Anatomy, n. fA body or sub- 
ject for dissection; a skeleton. 4. 
7.86. 



And, &, conj. Arch, and dial. 
If. I. I. 100, 96. 

Angel, n. An old English gold 
coin having as its device the Arch- 
angel Michael. Value about los. 

4- 7- 137. 
Anon, adv. flmmediately. i. 3. 

13- 

Antique, a. [Form of antic] 
Antiquated ; fantastic ; grotesque. 
5. I. 16. 

Appetite, n. Inclination, liking, 
fancy. Arch. 2. 3. 25. 

fApple-squire, n. A page who 
waited on loose women. 4. 7. 50. 

Approue, v. fTo prove, con- 
firm. 4. 8. 44. 

Aries, n. See note on 2. 7. 149. 

Assoile, V. fTo clear up, solve, 
resolve. 5. 3. 49. 

Attempt, V. To tempt, entice. 
Arch. I. I. 7. 

Auoide, v. impv. [Form of 
avoid.] fBegone! be off! away! 
2. 7. 148. 

Authenticall, a. Arch, form of 
authentic. 4. 4. 11. 

Ay me, int. Cf. the It. aime 
(ahime) : Ah me! oh! alas! 5.2. 
13. 



192 



The Cafe is Alterd 



Backside, n. fBack yard, the 
rear of a dwelling. 4. 5. 55- 

Badge, n. 'A distinctive device, 
emblem, or mark, used originally 
to identify a knight or distinguish 
his followers (= cognizance in 
Her.).'—N. E. D. 4.7.188. 

Bands, n. pi. Bonds, fetters, 
chains. 3. 4. 20. 

Bastinado, v. [Sp. bastonada.] 
Arch. To beat with a stick; to 
thrash, thwack. See note on 2. 7. 6. 

Bauke, v. trans. Obs. form of 
balk: fTo overlook, neglect. 2.5.3. 

Beads-man, n. A man of 
prayer ; one who prays for the soul 
or spiritual welfare of another. 
['The term by which men used to 
designate or subscribe themselves 
in addressing their patrons and 
superiors, answering to our modern 
"humble servant." '—iV. E. D.] 3. 
3- 30. 

Beare, v. Phr. bear action: To 
admit of a legal process or suit. 

5- 5- 219- 

Belike, adv. Arch, or dial. 
Perhaps, possibly, i. 5. 260. 

Beshrow, v. [Form of be- 
shrew.] 'Evil befall,' 'mischief 
take !' Arch. 1. 5. 133 ; 5- 5- 65. 

Bestow, V. I. Phr. to bestow 
oneself: To repair to one's post. 
Arch. I. 4. 20. 

2. To dispose of. Arch. 5.1.^24- 

Betwixt, prep. Arch, and poet. 
Between. 3. 2. 39. 

Bewray, v. Arch. To reveal, 
declare, make known. 4. 5. 24. 

Bir Lady, int. [Form of By'r 
Lady.] Obs. exc. dial. Contrac- 
tion of by our Lady, used as an 
oath, form of adjuration, or ex- 
pletive. 4. 7. 93. 



Blew, a. Obs. form of blue: 
The distinctive color for the dress 
of servants, tradesmen, etc. See 
note on i. 5. 30. 

fBombard, a. Shaped like the 
large leather jugs or bottles used 
for holding liquor. See note on 
4. 7. 96. 

Bonet, n. Obs. form of bonnet. 
4- 3- 60. 

Braue, a. Used as a general 
epithet of admiration or praise: 
Excellent, 'capital,' 'fine.' Arch. 
4.1.50; 4.7.8. 

Breake, v. To interrupt the con- 
tinuance of; suspend, delay. 2.5.4. 

Breed, n. fOffspring. 2. i. 22. 

Briske, a. fSmartly or finely 
dressed; trim, spruce. 2.1.26. 

Bully, n. fA term of endear- 
ment and familiarity, i. i. 135. 

fBurgonet, n. Obs. exc. Hist. 
A helmet with a visor. 4.8. 114. 

Bursting, ppl. a. Sudden. 3. 2. 
22,. 

Capable, a. fAble to perceive or 
comprehend. 4. 4. 9. 

Carouse, n. fA cupful drunk 
'all out,* a full draught of liquor. 
Obs. before 1700 (but used by 
Scott). 4-5.I3- 

Case, n. fi. A couple, brace, 
pair. 2. 3. I. 

2. A physical condition. lObs. 
(With a quibble on clothes.) 
5. 3. lOI. 

Cashire, v. [Form of cashier.] 
To put away, lay aside, dismiss. 
4- 5- 61. 

Catch, V. To get, receive. 2. 7. 
114. 

Cate, n. [Aphetized form of 
acate.] Most commonly used in 



Glossary 



193 



the plural : fVictuals, food. 4. 6. 
22. 

fCatso, int. [It. cazso, mem- 
brum virile.] Used as a word of 
exclamation. 5. 3. i. Cf. Godso. 

Cause, «. Phr. in cause of: In 
the case of. Obs. exc. dial. 2. 4. 31. 

Censure, n. Judgment; opinion, 
esp. expressed opinion ; criticism. 
Obs. or arch. 2. 7. 64. 

Censure, v. fTo pass judgment 
or opinion on, to criticise. 2. 7. 51. 

Cerimony, n. Obs. form of 
ceremony. 2. 4. 50. 

Champaigne, n. An expanse of 
level, open country, i. 5. 191. 

Chance, n. An unfortunate 
event, mishap, mischance. Arch. 

I.I.5- 

Chance, v. To happen. Some- 
what arch. 4. 7. 164. 

Chang, V. [Form of change.] 
fTo shift or transfer (from one 
place to another). Rare. 4.3.60. 

Changling, n. One given to 
change; a fickle or inconstant per- 
son. Arch. 1.2.6. 

Charge, n. Expense, outlay. 
Arch. 2. 7. 56. 

Checke, v. fPhr. to check at: 
To aim reproof or censure at. 2. 
2.8. 

Circumstance, n. i. Circumlocu- 
tion. Arch. I. 4. 24. 

2. Formality, ceremony. Arch. 
4. 4- 8. 

Close, adv. Hidden, secluded; 
fsecretly. 2. 5. i. 

Cloth, n. fApparel. See note 
on I. 5. 52. 

Coate, n. fUsed chiefly in such 
phrases as a man of his coat: 
Profession, class, order, i. i. 139. 



fCold conceited, ppl. a. Having 
a cold opinion of. 1.4. 17. 

Come, V. I. Phr. to come home 
(to one) : To touch or affect 
deeply. Now rare. See note on 
2. 2. 18. 

2. To come about, happen. 2. 7. 
130. 

t3. To be becoming or appropri- 
ate (to), befit. 4.4.8. 

Comment, n. fA commentary; 
an exposition, i. 5. 95. 

Companion, n. fA term of fa- 
miliarity or contempt; 'fellow.' 1.5. 
59- 

Complement, ti. Obs. form of 
compliment, i. 4. 34. 

Complot, n. Now rare. A de- 
sign of covert nature planned in 
concert ; a conspiracy, plot. 4. 8. 
65. 

Compunction, n. fPity, com- 
passion. I. 5. 88. 

Conceipt, n. 2. 1. 12. See Con- 
ceit. 

Conceit, n. fi- Notion, idea, 
thought. I. 5. 139. 

t2. The faculty of conceiving : 
apprehension, understanding. 4. i. 

57. 

Conceited, ppl. a. fFancifully 
or ingeniously conceived; clever, 
witty, amusing. 2. 7. 83. 

Conceiue, v. To understand, 
comprehend. Arch. 1.5.95. 

fConni-catching, ppl. a. [Form 
of cony- or coney-.] That cheats 
or tricks ; gulling, swindling. See 
note on 4. 7. 6r. 

Conscience, n. fConsciousness ; 
internal or mental recognition of. 
5- 4- 16. 

Consort, n. fConcert. 5. 5. C^. 



194 



The Cafe is Alterd 



Counterfait, n. See Counterfeit. 
5. 5. 176. 

Counterfeit, n. fAn impostor, 
pretender. 4. 8. 43. 

llCouragio, int. [It. corragio, 
courage.] Courage! as a hortatory 
exclamation. 2. 7. 115. 

Coy, n. fDisdainful. 5. 4. 25. 

Crazed, ppl. a. fBroken, cracked. 

5- 4 65. 

Crie, V. fTo beg. fPhr. / cry 
you mercy: Nearly equivalent to / 
beg your pardon, i. i. 57. 

Crotchets. See note on 4.5.21. 

Crowne, n. An English coin 
valued at about five shillings. See 
note on 5. 5. 156. 

llCrusado, n. Obs. [Sp. and 
Pg. cruzado.] 'A Portuguese coin 
bearing the figure of a cross, orig- 
inally of gold, later also of sil- 
ver.' — N. E. D. 'The earlier coin 
was equivalent to 43 cents, the later 
to 52 cents, in U. S. money.' — C. D. 

5- 3- 36. 

fCuUison, n. Obs. corruption of 
cognizance: A badge worn on their 
sleeves by servants. 4. 7. 187. 

Curious, a. fCareful, particular, 
scrupulous. 3. 3. 41. 

Cursie, n. Obs. form of curtsy. 

2. 3- 7- 

tCypress. Obs. or dial. See 
note on 4. 2. 68. 



Deafe, v. trans. To deafen. 
Arch, or dial. 5. 4. 76. 

Decade, n. See note on 2. 4. 44. 

Decorum, n. That which is 
proper or becoming; fused espe- 
cially in dramatic, literary, or artis- 
tic composition, i. i. 87. 



Deepe, a. fGrave, serious, in- 
tense. 2. 3. 32. 

Deere, a. fPrecious in import 
or significance, i. 5. 237. 

Deliuer, v. fTo declare, state, 
tell. 5- 5- 148. 

Deprauer, n. fOne who vilifies, 
defames, or disparages, i. 5. 144. 

Detect, V. fTo betray, expose. 
2. 4. 61. 

Deuise, n. [Form of device.] 
A trick; a scheme, plan, project. 
2. 7. 120; 4. I. 56. 

Disclaime, v. intr. fPhr. to dis- 
claim in: To renounce or disavow 
all part in. 1.5. 152; 5.5. 163. 

Discouer, v. To reveal the iden- 
tity of a person ; hence, to betray. 
Arch. I. I. 127. 

Disgrace, v. fTo cast shame or 
discredit upon. 2. 5. 18. 

Dispight, n. Obs. form of de- 
spite. fPhr. in dispight of: In 
open defiance of, in overt opposi- 
tion to. 4. 7. 106. 

Double, V. intr. To make eva- 
sive turns or shifts ; to use duplic- 
ity. ?Obs. 1.5. 27. 

Doubt, V. fTo fear. (?)4. 1.42. 

Drift, n. i. Meaning or purport. 
2. 4. 17. 

t2. A scheme, plot, design. 5. 
46. 

Eene, adv. [Chiefly in colloq. 
form e'en.] Prefixed to verbs, 
with vague force expressible by 
'just,' 'nothing else but.' Arch, and 
dial. I. 5. 139. 

Effects, n. pi. i. fManifesta- 
tions, signs, tokens. 1.4.43. 

2. [Form of jaffccts.] Affection, 
love. I. 5. 223. 



Glossary 



195 



Election, n. fjudicious selec- 
tion; the faculty of choosing with 
taste or nice discrimination, i. 4. 
30. 

Elizium. The abode of the souls 
of the good and of heroes exempt 
from death, in ancient classical 
mythology. 5.1.86. 

Enforce, v. fTo add force to, 
intensify, strengthen. 4. 8. 103. 

Ennious, a. fGrudging; jealous. 

I. 5- 241- 

Enuy, n. fActive evil, harm, 
mischief. 4. 2. 29. 

Enuy, V. fTo begrudge, dislike. 

3- 5- 9- 

Epitaphs, n. See note on 2. 7. 9. 

Ere, conj. Before. Arch, or 
poet. I.S.95. 

Ere, prep. Before. Arch, or 
poet. 2.2.58. 

Estimation, n. f'Account' or 
worth in the opinion of others ; re- 
pute. 4. I. 2)2. 

Euen, adv. Exactly, precisely. 
Now chiefly arch, after Biblical 
use. 5. 4. 46. 

fEuent, V. intr. for refl. To vent 
itself, find a vent. 5. 4. 36. 

Exceeding, adv. Prefixed to 
adjs. or advs. Very common in 
I7th-i8th c. ; now somewhat arch. 
Exceedingly. 1.3.36. 

Exchange, n. fPhr. in exchange 
of: In exchange for. 4.1.29. 

Exhibition, n. fAn allowance of 
money for a person's support. 5. 
3-80. 

Exigent, n. fNeeds, require- 
ments. 4. 7. 40. 

Extasie, n. Obs. form of ec- 
stasy. ['The expressions ecstasy 
of woe, sorrow, despair, etc., still 



occur, but are usually felt as trans- 
ferred.'— N. E. D.] 3- 3- 12. 

Extemporall, a. Now rare. 
Extempore, unpremeditated. 2. 7. z?- 

Faint, v. To grow weak or 
feeble; decline. Obs. exc. poet. 

1. 4. ID. 

Falsifie, v. ^Fencing: To feign 
(a blow) ; to feint. 2. 7. 130. 

Fancie, n. fLove. 2. 6. 42. 

Fauour, n. Phr. under favor: 
With all submission, subject to cor- 
rection. Obs. or arch. i. 5. 65. 

Fauour, v. Now colloq. To re- 
semble in face or feature. 4. 2. 57. 

Feare, v. trans. To inspire with 
fear ; to frighten. Obs. exc. arch. 
or vulgar. 5. 3. 26. 

Feel, V. fTo perceive mentally. 

2. 7. 134- 

Fellow, n. fi- A term of famil- 
iarity (before a name) : 'Friend,' 
'neighbor.' i. 2. i. 

2. PI. An equal, peer. 2. 2. 2. 

t3. A customary title of address 
to a servant, i. 3. 9. 

Fennell, n. An emblem of flat- 
tery. ['A fragrant perennial plant 
having yellow flowers, cultivated 
chiefly for its use in sauces eaten 
with salmon, etc' — N. E. D.] See 
note on i. 5. 12. 

Fetch, V. To bring to terms ; to 
cause to yield or to meet one's 
wishes. Colloq. 3. 2. 49. 

Filthy, a. fContemptible, foul, 
disgusting. 2. 7. 84. 

Flawe, n. A sudden burst or 
squall of wind. 3. 4. 31. 

Fling, n. Chiefly in phr. to have 
a fling at: A passing attempt at or 
attack upon something, i. 3. 26. 



196 



The Cafe is Alterd 



Foe, int. Form of faugh or foh. 
2. 7. 120. 

Fond, a. Foolish, silly. ['Since 
i6th c. the sense in literary use has 
been chiefly: Foolishly credulous 
or sanguine. In dialects the wider 
sense is still current.' — A'^. E. D.] 
4. 6. 4- 

fFoot-cloth, n. A large, richly 
ornamented cloth laid over the back 
of a horse and hanging down to 
the ground on each side. 4. 7. 185. 

fFore, prep. Before, by: used 
in asseveration or adjuration. 4. 
2.6. 

Forme, n. fi- A grade or de- 
gree of rank. 2. 1.48. 

t2. Beauty, comeliness. 4. 6. 6. 

3. Observance of etiquette, cere- 
mony or decorum. 5. 4. 18. 

French crowne. 'A gold coin, 
value 4 shillings, 8 pence, and, from 
the 15th to the i8th century, the 
common English name for the 
French ecu, as well as for other 
foreign coins of similar value.' — 
N. E. D. See note on 5. i. 25. 

Frolicke, a. [Form of frolic.] 
tJoyous, merry, mirthful. 1.2.5. 
['This was the early use. In later 
use with sense derived from the 
verb : frolicsome, sportive.' — N. E. 
D.] 

llFrustra, adv. Latin: In vain, 
to no purpose. 1.5. 91. 

Gallant, a. Of women: fFine- 
looking, handsome. 4. 2. 6. 

Gallant, n. fA fashionably at- 
tired beauty. 2. 5. 15. 

Gander, n. A dull or stupid per- 
son ; a fool, simpleton. 5. 3. 54. 

Gar, int.phr. by gar: From 
Gad, a minced pronunciation of 
God. Rare exc. arch. 4. 3. 15. 



liGarsoone. [Form of mod. F. 
gargoji.] A boy servant, attendant. 
4. 1. 6. 

Gather, v. intr. Fencing: To 
collect or summon up (one's ener- 
gies) ; to gather oneself (to- 
gether). 2.7.135. 

Geere, n. [Form of gear.] 
fAffair, business, matter. 5. i. 42. 

Genius, n. The tutelary god or 
attendant spirit. See note on i. 4. 8. 

Giue, -v. fi- To display as an 
armorial bearing; to bear (such or 
such a cognizance). Obs. 4.7.187. 

t2. Phr. give end: Put an end 
to ; cease. 5. 4. yy. 

Go, V. I. Phr. go to: Used 
to express disapprobation, remon- 
strance, protest, or derisive incredu- 
lity. Obs. or arch. 1.1.21. 

2. Phr. go your ways: Take your 
way ; go about your business ; or 
used as a mere expletive. Obs. or 
arch. 2. 6. i. 

tGod a mercy, int. phr. Used in 
the sense, 'God reward you,' as an 
exclamation of applause or thanks. 
2. 7. 24. 

fGods my life, int. phr. God 
save my life. An exclamation of 
surprise. 3. 2. 14. 

God so, int. ['?Var. of Gadso 
after oaths beginning with God's. 
Gadso is a var. of Cat so (It. cazzo, 
membrum virile, also word of ex- 
clamation) through false connec- 
tion with other oaths beginning 
with Gad.'—N. E. D.] An excla- 
mation. I. I. 7. 

fGods precious, int. phr. God's 
(Christ's) precious (blood, body, 
nails, or the like). 1.5.34. 

Grace, n. fPhr. to do (a per- 
son) grace: To do honor to. i. 
5-214. 



Glossary 



197 



Gramercy, int. phr. [Fr. grand 
merci.] Thanks ; thank you. Obs. 
exc. arch. 2. 2. 13. 

Great, a. fi- Full or 'big' with 
sorrow. I. 5. 195. 

t2. Of considerable knowledge 
or experience in, conversant with. 
Ohs. with in. 2. 4. 62. 

Greeke, n. Qualified by merry, 
mad, gay: A merry fellow, a roys- 
terer, a boon companion. See note 
on 4. 7. 163. 

Griefe, n. fA feeling of offense ; 
displeasure, anger. 1.4.86. 

Grimly, adv. Austerely, uncom- 
promisingly. 2. 3. 35. 

Ground, n. fi- A region, land, 
country, i. i. 50. 

t2. The bare floor which consti- 
tuted the pit of the theatre. See 
note on i. i. 106. 

Gull, n. A dupe, fool, simpleton. 
4- 5- IS- 

Gull, V. To make a gull of; to 
befool. 5. 3. 54. 

Ha. Worn-down form of have. 
I. I. 109. 

Habit, n. Clothing, raiment, 
dress. Arch. i. 5. 79. 

Handkerchier, n. Handkercher 
was the spelling common to liter- 
ary usage in i6th and 17th c. Now 
dial, and vulgar. 4. 5. 38. Hand- 
kerchire. 4. 5. 53. 

fHangby, n. A contemptuous 
term for a dependent or hanger-on. 
4. 1. 62. 

Hap, V. Arch. To happen. 4. 
7. 163. 

Haplesse, a. Unfortunate, un- 
lucky. 3. 3. 24. 

Hard fauour'd, a. Unpleasing in 
feature; ugly. Arch. 2.4.18. 



fHarrot, n. Obs. form of herald. 
fPhr. herald of (at) arms. One of 
his duties was to regulate the use 
of armorial bearings. 4. 7- 189. 

Haue, V. intr. or absol. Phr. to 
have at (some one) : To go at or 
get at, esp. in a hostile way. See 
note on 3. i. 19. 

Hearing, vbl. n. Something 
heard ; report, rumor, news. Dial. 
I. I. 18. 

Heart, n. As a term of com- 
mendation : A man of courage or 
spirit. 2. 7. 2. 

Heauily, adv. With sorrow, 
grief, displeasure, or anger. Obs. 
or arch. i. 5. 229. 

Heauinesse, n. fGrief, sadness. 

I. 5- 115- 

Heauy, a. Serious, grave ; sad. 
Now rare or obs. i. i. 139. 

Hei ho, int. [Form of heigh- 
ho.] An exclamation usually ex- 
pressing sighing, weariness, disap- 
pointment. See note on 5. 3. 12. 

Hem, pron. Them. In the 17th 
c. often printed as 'hem or 'em. 
1. 1. 95- 

Hienna, n. Form of hiena, the 
obs. form of hyena. See note on 
5- 2. 19. 

Hilt, n. fBy extension, a sword- 
stick or foil. 2. 7. 3. 

Hind, n. i. As sing. A servant. 
(In later use, a farm servant.) 

I- 5- 57. 

t2. As pi. Household servants, 
domestics. 5. 5. 218. 

Hitherward, adv. Arch. Hither ; 
in this direction, i. 4. 66. 

tHity tity, n. Bo-peep. 4. 7. 19. 
['The same as hoity-toity, highty- 
tighty, but there is no obvious con- 
nection of sense.' — N. E. D.] 



198 



The Cafe is Alterd 



Honest, a. Chaste. Arch. 2. 2. 

25- 

Hony, a. [Form of honey.] 
Sweet ; dear. 5. 5. 55. 

Horizon, n. [Form of horison, 
the obs. form of orison = etymol- 
ogically, a doublet of oration.] A 
prayer, supplication. Arch. 4. 7. 26. 

fHough, int. Obs. spelling of 
ho, int. Also form of how. 5. 3. 
24. 

Humour, n. i. Mental disposi- 
tion ; constitutional or habitual 
tendency, i. i. 34; 1.4.84. 

2. Fancy, whim, caprice, i. 2. 14 ; 
I. 5.4I- 

3. State of mind or feeling; 
mood, temper. 2. 2. 6 ; 2. 3. 22. 

I, adv. Obs. form of ay. i. i. 
40. 

I. Weakened form of in, prep., 
before a cons., as in / faith. Now 
dial, or arch. 1. 1. 30. 

lealous, a. Suspicious ; appre- 
hensive of evil, fearful. Dial. 2. 
4.63. 

lealousie, n. Suspicion ; appre- 
hension of evil; mistrust. Dial. 
4. I. 60. 

ledly, adv. Form of idly. 4. 6. 
20. 

Imbecell, v. Obs. form of em- 
bezzle. fTo entice away (a per- 
son) from service. 5. 3. 27- 

Imploy, v. [Form of employ.] 
fPhr. to employ to: To send (a 
person) with a commission to (a 
person or place). 4.2.36. 

Impressure, n. Now rare. A 
mental or sensuous impression, i. 
4.48. 

Infidell, n. fOne who is un- 
faithful to some duty. (?) 4.5.35. 



Ingies, n. Form of Indies. 4.3 
19. 

tingle. [Also engle, enghle, 
inghle. Origin unknown.] Orig- 
inally a boy favorite (in a bad 
sense), a catamite; but later used 
for an intimate. See note on i. i. 
26 ; 2. 7. 92. 

flnjury, v. Supplanted c. 1600 
by the current injure, i. 4. 16. 

Instance, n. i. Occasion. 1. 1. 

45. 

2. Example, i. 4. 26. 

t3. Phr. to give instance: To 
give an example. 5. 3. 75. 

Intelligence, n. Information, 
knowledge. Now rare or obs. 4. 
7. 174- 

Inuent, v. fTo come upon, find. 
4- 7- 154- 

ludiciall, a. tJudicious. 4. 6. 19. 

Keepe, v. To continue to make ; 
to keep up. 4. 6. 8. 

Kilderkin, n. A cask for liquids, 
fish, etc., with the capacity of half 
a barrel. 4. 7. 96. 

Kind, n. Mode of action ; man- 
ner, way, fashion. Common in 
17th c. in phr. in any, no, this 
kind, etc. Now arch. i. i. 75. 

Knaue, n. A menial. Arch. i. 
5.9. 

Know, V. To recognize, distin- 
guish. 3. 5. 4. 

Knowledge, n. fPhr. to take 
knowledge of: To recognize, i. i. 
130. 

fKooke, n. [Form of cokes.] 
A fool, a simpleton, one easily 
'taken in.' 5. i. 15. 

Leaue, v. To cease, desist from, 
stop. Arch. 1. 5. 26. 



Glossary 



199 



Lend, v. fTo hold out (a hand) 
to be taken. 4. 3. 16. 

Lewd, a. fVile, 'base'; ill-bred. 
4- 8. 43- 

Like, adv. Rare exc. in phr. like 
enough, very like: Likely, prob- 
ably. 4. 8. 74. 

Like, V. Chiefly quasi-trans. with 
dative: To please, be pleasing to, 
suit a person. Arch, and dial. i. 

5-35. 
List, V. Arch. To listen, i. 4. 

67. 

Lording, n. Frequently in pi.: 
Sirs ! Gentlemen ! 5. 5. 213. 

Lusty, a. fMerry, cheerful ; gal- 
lant. 2. 5. 2. 

Maddam, n. fi. Prefixed to a 
first or sole name. i. i. 136. 

t2. A lady of rank or station. 
I. 5. 202. 

llMadona, n. [Form of Madon- 
na.] An Italian form of address 
or title; my lady, madam. Obs. 
4. 7- 24. 

Maecen-asses. A quibble on 
Maecenas, the well-known patron of 
Horace and Virgil. See note on 
I. I. 79. 

Maine, n. [Form of maim.] 
Obs. or arch. Injury. 5. 5. iii. 

Maine, n. fi. Phr. the main of 
all: The important or essential 
point. 1.4.64. 

2. The chief matter or principal 
thing in hand. 4. 2. 34. 

Maine chance. See note on 4. 
7. 168. 

Make, v. Phr. to make a holi- 
day : To take a holiday. 4. 5. 64. 

Make away, ftrans. To put (a 
person) out of the way, put to 
death. Obs. Now superseded in 



the transitive senses by make away 
with. 5. 2. 18. 

Man, V. fTo escort (a person, 
esp. a woman). 5.1.75- 

March paine, quasi-arf;'. [Form 
of march-pane.] fDainty, super- 
fine. 4. 7. 48. [The noun indicated 
'a kind of confectionery composed 
of a paste of pounded almonds, 
sugar, etc., made up into small 
cakes or moulded into ornamental 
forms.'— A^ E. D.] 

Marie, n. and v. Obs. exc. dial. 
A contraction of marvel. 1.2.29; 
I. I. III. 

Marry, int. Obs. exc. arch, or 
dial. [A corruption of Mary.] The 
name of the Virgin Mary used as 
an oath or an interjection of assev- 
eration, surprise, or indignation, i. 
1.35. Mary. i. i. 151. 

fMart, V. [Contraction of mar- 
ket.] To make merchandise of, to 
traffic in. 4. 8. 3. 

Masse. An abbreviation of by 
the mass: Used in oaths and assev- 
erations. Dial. 2. 4. 59. 

Mathauell. For Machiavelli. 
See note on 4. 7. 36. 

Medle, v. [Form of meddle.] 
To deal with. 4. 5. 31. 

Melpomine. In classical mythol- 
ogy, originally the Muse of song 
and musical harmony, looked upon 
later as the especial patroness of 
tragedy. 4. 7. 36. 

Melt, V. fTo be overwhelmed 
with dismay and grief, i. 5. 87. 

Mercy, n. fPhr. / cry you m,er- 
cy: Nearly equivalent to / beg your 
pardon, i. i. 57. 

Meridian, a. See note on 4. 5. 50. 

Meritable, a. ?Obs. Meritori- 
ous. 2. 7. 67. 



The Cafe is A Herd 



Me thinkes, impers. Arch, and 
poet. It seems to me. i. 5. 138. 

tMisprise, v. To mistake, mis- 
understand. 4.1.39. 

Mistery, n. [Form of mystery.] 
tOccupation, profession. 2. 7. 9. 

Motion, 11. fProposal, request. 

1. 5. 99- 

Motly, a. Pertaining to a fool ; 
foolish. 1.5. 21. 

Moue, V. fTo address one's self 
to ; to speak about an affair. 3. 2. 
50. 

Much, adv. Used ironically for 
'not at all.' See note on 3. i. 5. 

Mucke, n. fA jocular term for 
money. See note on 4. 7. 167. 

fMumps, n. A term of contempt 
or mock endearment for a woman. 

2. 2. 43. 

Murraine, n. flnt. phr. with a 
murrain: An exclamation of anger. 
I. 1. 126. 

Muse, V. To wonder, marvel. 
Now rare or poet. i. 1.7. 

Mutton, n. A loose woman. 
Slang. (?)4-3-53- 



Na, adv. Obs. variant of nay. 

1. I. 41. 

Natiue, a. Conferred by birth ; 
inborn ; hereditary. 4. 4. 22. 

Neere, prep. Phr. to come near 
any one: To touch or affect deep- 
ly. Now rare. See note on 2. 2. 18. 

tNingle, n. [By epithesis of n, 
from the article an, or poss. mine 
f ingle.] See note on 5. 3. 44. 

fNoble Science, n. Fencing; 
'Science of Defence.' See note on 

2. 7. 10. 

Nor, conj. In correlation : nor 
. . . nor. Arch, or poet. 5. 3. 60. 



Note, n. 'An objective sign, or 
visible token, which serves to iden- 
tify or distinguish some person or 
thing. Common from c. 1580 to 
1680 ; now rare.' — N. E. D. 5. 5. 
122. 

Nouels, n. fSomething new ; a 
novelty. In early use always pi. 
5. 5- 224. 

Nought, n. Nothing. 2. 4. 28. 
Naught. 3. 3. II. Now only lit. 

Obiect, n. fAn obstruction, in- 
terposition. Obs. rare. 1. 4. 85. 

Obseruance, n. i. Respectful or 
courteous attention, dutiful service. 

1. 4 50. 

t2. Observant care, heed. 5. 5. 
150. 

Occurents, n. Obs. or a rare 
archaism. Occurrences, incidents, 
I events. 4. 8. 70. 

Odde, adv. fSingularly, unusu- 
ally. I. 5. 137- 

Once, adv. fi. Once for all. 2. 
1.27. 

2. Ever, at all, only. Chiefly in 
conditional and negative statements. 

2. 6. 17. 

Ope, V. [Reduced from open, 
v.] Chiefly, and since 17th c. ex- 
clusively /Jo^i. 2.1.60. 

Or, conj. In correlation : or . . . 
or. Arch, or poet. 5. 4. 16. 

Packe, V. intr. To go away, to 
depart, esp. when summarily dis- 
missed. I. I. 122. 

fPacking penny, n. A penny 
given at dismissal. Phr. to give a 
packing-penny to: To 'send pack- 
ing,' to dismiss. 4. 2. 67. 

Panurgo. For Panurge. See 
note on 4. 7. 148. 



Glossary 



Passe, V. I. To go from side to 
side of, or across. 2. 7. 45. 

t2. To surpass, exceed. 3. 3. 32. 

t3. To care for, regard. Gen- 
erally used with a negative. 5. 5. 

275- 

t4. Phr. to pass of: To depart 
from a person or thing. 5. 5. 276. 

Passing, ppl. adv. Surpassingly, 
exceedingly, very. Now somewhat 
arch. 2.1.43. 

Past, prep. fMore than, above 
(in number or quantity). 2.7.50. 

Pastorella. A shepherdess in 
the Faerie Queene (6.9). 2.2.44. 

PeasJint, n. fA boor, clown ; 
rascal. 5. 5. 223. 

Peeuish, a. fP^rverse, refrac- 
tory ; foolish, childish. 4. 6. 8. 

Pelfe, n. Money. Now depreci- 
atory. 2. 1. 30. 

Pen, n. Manner, style, or quality 
of writing, i. i. 106. 

Peremptory, a. i. Positive in 
opinion or assertion; bold. i. i. 116. 

t2. Obstinate. 5. 5. 19. 

Peremptory, adv. fPositively. 
2. 7. 62. 

Perfect, adv. Perfectly. Obs. 
exc. dial, or poet. i. 5. 68. 

Pertake, v. [Form of partake.} 
fTo share in (a communication or 
news), to be informed of. 1.4.74. 

Peruse, v. To survey, inspect, 
examine, or consider in detail. 
Arch. I. I. 43. 

Pesant, n. See Peasant. 4. 3. 6. 

Philip, n. [Form of fillip.] 
Something of small importance, a 
trifle. 2. 7. 120. 

Plaid, ppl. a. fPhr. play upon: 
To make sport of, delude. Now 
rare. 4. 8. 84. 



Plantan, ti. [Form of plantain.] 
A tropical, tree-like, perennial herb, 
noted, among other things, for its 
properties of stanching the flow of 
blood, or of closing wounds. See 
note on 2. 7. 121. 

Play, V. To contend for exer- 
cise or pastime with swords, rapi- 
ers, or sticks ; to fence. Obs. or 
arch. 2. 7. 3. 

Pleasant, a. fMerry, facetious. 
2. 5. 17. 

Pockie, a. fAs a coarse expres- 
sion of reprobation, or merely in- 
tensive ; vile, contemptible. 5. 3. 84. 

Poise, v. fTo balance, equal, 
match. 1.4.42. 

Posie, n. Arch, or dial. [A 
form of posy, syncopated form of 
poesy.] fA motto or short inscrip- 
tion. See note on 4. 5. 53. 

Possest, ppl. a. Inhabited and 
controlled by a demon or spirit ; 
mad, crazy. 5. 2. 14. 

Pottle, n. A measure of capacity 
for liquids (also for corn and other 
dry goods), equal to two quarts; 
now abolished. 4. 3. 34. 

Powder, n. Obs. exc. dial. 
['Origin unascertained. Identity 
with powder (i) is, from the sense, 
improbable.' — A''. E. D.] An impe- 
tus, rush ; force, impetuosity. 
Chiefly in phr. with a powder, im- 
petuously, violently. See note on 
I. 1.43. 

Pox, n. fUsed in imprecations, 
or exclamations of irritation or of 
impatience; as a pox upon; a pox 
a God on. i. i. 8. 

Practise, v. fTo attempt, en- 
deavor, try. I. 2. 30. 

Praecisianism, n. The practice 
or conduct of a precisian; orig. 



The Cafe is A Herd 



applied to Puritanism. See note 
on 2. 3. 26. 

Prefer, v. To recommend. Obs. 
or arch. i. i. 37. 

Presently, adv. Immediately. 
Obs. or arch. 1.5. 147. 

Presto, adv. An interjection. 
Commonly used by conjurers and 
jugglers in various phases of com- 
mand = immediately, instanter. i. 
I. 21. 

Prety, a. [Form of pretty.] 
fClever, excellent, shrewd. 1. 1. 38. 

fPrincocks, n. [Form of fprin- 
cox.] A pert, forward, saucy boy 
or youth. 5. 3. 17. 

fPristmate, n. [Form of fpris- 
tinate.] The first or original state. 
Rare. i. 2. 7. 

Prithee, int. phr. Arch. A col- 
loquialism for '(I) pray thee.' i. 
2. 2. Prithy. 5. 3. 49. 

Prize, n. fA contest, competi- 
tion, match. 2. 7. 17. 

Procliue, o. Obs. or arch. Has- 
ty, forward, precipitate, i. 5. 85. 

Proiect, n. PObject. 4.8.47. 
. Proper, a. Of goodly appear- 
ance, well-formed, handsome. Arch. 
and dial. 5. 3. 29. 

Protract, v. fTo extend or pro- 
long time so as to cause delay; to 
v-aste time. 4. 2. 48. 

Proude, a. [Fr. preux, valiant.] 
t Valiant, brave ; mighty. 3.4.51. 

Proue, V. To experience, suffer. 
Arch. 4. 8. 51. 

Puh, int. Obs. form of pooh. 
I. 2. II. 

Pure, a. Fine, capital, excellent. 
Slang or colloq. ( Porig. ironical). 
Now rare or obs. See note on 5. 
5-79- 



Put, V. fPhr. put down: To 
excel or surpass by comparison. 
4. 2. 64. 

Quality, 71. fProfession, busi- 
ness. 2. 7. 5. 

Quick humor'd, a. Lively ; char- 
acterized by physical or mental live- 
liness or sprightliness. i. 5. 157- 

Quiddit, n. Now arch. = quid- 
dity: A subtlety or captious nicety 
in argument ; a quirk, quibble. 2. 
2 31. 

Quoth. [Preterit of quethe, to 
say.] Said. ['Used with sbs., or 
pronouns of the first and third 
persons, to indicate that the words 
of a speaker are being repeated.' — 
N. E. D.] 4. 3. 33. 

fRacket, v. trans. To toss or 
bandy about. 4. 7. 131. 

Rakehell, n. Arch. A thorough 
scoundrel or rascal. 4. 7. 57. 

Rapt, ppl. a. [From rape.} En- 
raptured, ravished, transported, i. 

4-43- 

Regard, v. fTo look after, take 
care of. 4. i. 46. 

Religion, n. fThe sense of any 
holy obligation ; duty and awe paid 
to things held sacred. 5. 4. 16. 

Reluolue, v. [Form of revolve.] 
t(?) To upset by revolution. 4.7. 
102. 

Resolue, v. i. To decide or de- 
termine. 2. I. 58. 

2. To answer a question ; to solve 
a problem ; to explain. 2. 7. 4, 13 
(? finform). 

t3. To be satisfied or convinced. 
4. 8. 92. 

Resoule, v. 2. i. 58. See Re- 
solue. 



Glossary 



203 



Respect, n. fPhr. in respect of: 
In view of, by reason of or because 
of. I. 5- 130. 

Respect, v. To regard, consider, 
look upon, as being of a certain 
kind. Rare. 4. 4. 28. 

Respectue, a. [Form of respec- 
tive.] fRespectful, courteous. Very 
common 1600-1650. i. i. 47. 

Responsible, a. fCorrespondent 
or answering to something, i. 4. 44. 

Rest, n. fPhr. to set up one's 
rest: To take up one's permanent 
abode. See note on 1. 1. 122. 

Retort, V. To repay, i. 5. 100. 

Right, adv. i. Exactly, precisely. 
Dial, or arch. i. i. 34. 

2. With adj.: Very. Arch. 2.6. 
32. 

Rooke, n. fA gull, simpleton, i. 

5-22. 

Rude, a. i. Ignorant, uncultured, 
unmannerly. 2. 7. 73. 

2. Ungentle, violent. 4. 4. 30. 

3. Of sounds : Discordant, harsh. 

5- 4- 65. 

Rug, n. t'A rough woolen ma- 
terial, a sort of coarse frieze, in 
common use in the i6-i7th c' — N. 
E. D. 4. 7. 99. 

Rule, n. fMisrule, disorder. 5. 
5. 57- 



Sad, a. fSerious, sober, grave. 
I. I. 139. 

Sadnesse, n. fi. Seriousness, 
gravity, i. 5. 153. 

■\2. Phr. in good sadness: In 
earnest, not joking. 4.8. 107. 

Satrapas, n. [Form of satrap.] 
A governor of a province under 
the ancient Persian monarchy, i. 
5.258. 



Saue, (\ndis\-prep. Except. i. 
Often strengthened by the addition 
of only. 4. 7. 139. 

2. Followed by the Nom. of a pro- 
noun. 5.2.21. 

Sauiour, n. [Form of savor.] 
Odor, smell. Poet, and arch. 4. 

8.39- 

Sauour'd, ppl. a. fPerceived, ap- 
prehended. 2. 4. 17. 

Say, V. Speak. [Used with 
well, true, truly.] Somewhat arch. 

2. 7- 151- 

fSbloud, int. [<God's blood.] 
An imprecation, i. i. 13. 

Scalding, ppl. a. fOf desires, 
etc. : Burning, fervent. 5. 4. 36. 

Scalion, n. [Form of scallion.] 
A kind of small onion native of 
Palestine ; the shallot. Dial. 4. 5. 
37- 

fScape, V. [Aphetic form of es- 
cape.] To escape. 4. 7. 64. 

Scarce, adv. Scarcely. Now 
only literary. 4. 4. 26. 

Scuruie, n. Something contemp- 
tible or vile. i. 2. 35. 

Seeme-les, a. Obs. exc. arch. 
Unseemly, shameful, unfitting. 3. 
452. 

Semblably, adv. 
ner, similarly. 4. i. 

fSemitary, n. 
scimitar. 5. 3. 85. 

Seruant, n. fLover. 2. 4. 47. 

Serue, v. To regulate one's con- 
duct in accordance with the de- 
mands of; to comply with. 1.4.63. 

fSewer, n. A person charged 
with the service of the table, esp. 
a head servant in such a capacity. 
1.1.112 (stage-direction). 

fS'heart, int. [< God's heart.] 
An imprecation. 5. 4. 11. 



fin like man- 
16-7. 
Obs. form of 



204 



The Cafe is Alterd 



Shew, V. intr. Arch, form of 
show. To appear, seem. 1.5.31. 

Shift, n. I. Phr. to be put to 
one's shifts: Forced to adopt some 
stratagem or trick. See note on 

1. I. 28. 

2. Phr. to make shift: To find 
ways and means of doing some- 
thing, or of overcoming a difficulty. 

4. 7. 175. 

Shrewdly, adv. fin a high and 
mischievous degree ; quite. 2. 5. 18. 

Simply, adv. Plainly, clearly; 
absolutely. 2. 4. 61. 

Single, quasi-adz/. Weakly, sim- 
ply, foolishly. 2. 7. 136. 

Sirrah, n. Obs. or arch. i. A 
word of address generally equiva- 
lent to 'fellow' or 'sir.' 1.1.36; 

1. 4. 3- 

2. Used attributively with appel- 
lations or proper names, i. i.43- 

Sleight, a. [Form of slight.] 
Imperfect, superficial; frivolous. 

2. 3. 16. 

fSlid, int. [<God's lid (eye).] 
An imprecation. 1.2.6. 

Slops, n. pi. t'Wide baggy 
breeches or hose, of the kind com- 
monly worn in the i6th and early 
17th c' — A'^. E. D. See note on 
4. 7. 96. 

Solicite, V. i. To seek to obtain ; 
to court. 2. 2. 55. 

t2. To advocate, enforce the 
claims of. 3. i. 4. 

Sooth, V. To flatter ; encourage. 

5- 3- 83. 

Sort, n. A company. Obs. or 
Prov. 1.5.21. 

Soundly, adv. Stoutly, boldly. 

5- I- 19- 

tSplendius, a. Obs. Splendid. 
5- 5- 272. 



Spoile, n. fUndoing, ruin. 5. 5. 
166. 
Stale, n. fA decoy, bait. 5. 4. 7. 
Stally, adv. Form of stalely. 2. 

4.5I- 

Stand, V. i. Phr. to stand on 
(upon) : To insist upon; to rely 
upon, trust to. i. 2. 11 ; 5. i. 7. 

2. Phr. to stand to: To await 
and submit to; to take the chance 
or risk of. 2. 7. 64. 

fStarting hoi, n. A loop-hole; 
evasion. 5. 5. 186. 

State, n. Phr. to keep state: To 
preserve a proper dignity and re- 
serve. 5. 5. 211. 

Stature, n. fState, condition. 2. 
3-36. 

Still, adv. Always, ever, con- 
stantly. I. 2. 7. 

Suite, V. intr. To correspond, 
agree, accord. Generally followed 
by with or to. 4. 2. 54. 

fSuper negulum. 'A common 
term among topers.' — Nares. See 
note on 4. 5. 13-4. 

fSurquedry, n. Arrogance, over- 
confidence. See note on 4. 5. 27. 

tSuspect, n. Suspicion. 1.4. 14. 

fS'will, int. [<God's will.] An 
imprecation. 1.3.8. 

fS'wounds, int. [<God's 

(Christ's) wounds.] An impreca- 
tion. I. 5. 29. 

Tablet, n. fAn ornament of 
precious metal or jewelry of a flat 
form, worn about the person. 5. 
5- 126. 

Take, v. fi. Phr. to take knowl- 
edge of: To recognize, i. i. 130. 

t2. Phr. to take tip: To obtain 
goods on credit ; to borrow. 5. 3. 
66. (Pun.) 



Glossary 



205 



t3. Phr. to take upon one: 
To assume authority or importance. 
2. 7. 62. 

Taking, vbl. n. Predicament, 
dilemma, condition, plight. 4. 2. 73. 

Tane, pa. ppl. Obs. form of 
ta'en contracted from taken. 4. 2. 
60. 

Taste, V. fi. To please, suit, be 
agreeable to. 1.5. 211. 

2. To perceive, recognize, take 
cognizance of. Poet, or dial. 4. 
4.20. 

Tearme, n. [Form of term.] A 
term of court. See note on i. i. 96. 

Tell, V. To know. Phr. when, 
can you tell. See note on 5.1.83. 

Tempt, V. fTo put to the test 
or proof. I. 5. 44. 

Tend, v. To attend to, to look 
after. Obs. exc. dial. i. 5. 166. 

Then, conj. Obs. form of than. 
I. 5. 83. 

Tickle, V. To please or amuse 
by gentle appeals to one's imagina- 
tion, sense of humor, vanity or the 
like. I. 5. 139. 

Tippet, n. fPhr. to turn tippet: 
To make a complete change in one's 
course or condition. See note on 
4. 2. 66. 

To, adv. Obs. form of too. i. 
1.47. 

fTo fore, adv. Before. 1.1.4. 

Touch, n. Mental or moral feel- 
ing; moral perception or apprecia- 
tion. 5. 4. 16. 

Touch, V. To hurt, injure; to 
stain, taint. 4. 8. 34. 

Touching, quasi-prep. Concern- 
ing, with respect to. 2. 6. 13. 

Toye, n. A trifle, i. i. 93. 

Translated, ppl. a. Transformed. 
4.8. 121. 



Trick, n. fi. A toy, a trifle, i. 
I. 89. 

2. A peculiar habit or practice. 
(?) 4-3.4I- 

3. A feat or an exhibition of skill 
or dexterity. 4. 3. 56. 

4. A crafty device, an artifice, a 
stratagem. 5. i. 7. 

Troth, n. Obs. form of truth, 
(a) Int. phr. in troth, by my troth, 
or colloquially reduced to troth. I. 
3. 3. (b) Noun. 5. 3. 9. Use chiefly 
literary. 

Trow, V. Arch. Generally in a 
phrase, / trow, or trow, added to 
questions, and nearly equivalent to 
/ wonder. 1. 5. i. 

True-stich, n. Through-stitch : 
applied to embroidery exactly alike 
on both sides of the foundation. 
2.3.1s- 

Trul, n. [Form of trull.] A 
drab, strumpet. 4. 7. 46. 

Trusse, v. To hang: usually 
with up. Arch. 5. 5. 9. 

fTucket, n. [It. toccata, prelude 
to a piece of music] A flourish on 
a trumpet; a fanfare. 1.5.205 
(stage-direction). 

Turtle, n. [Shortened form of 
turtle-dove.] See note on 4.6.9. 

Tush, int. An exclamation ex- 
pressing rebuke or impatience, and 
equivalent to 'pshaw! be silent.' 
5- I- 33- 

Tut, int. An exclamation used 
to check or rebuke, i. i. 104. 

Twixt, prep. Arch, and poet. 
An abbreviation of betwixt: Be- 
tween. 2. 5. 5. 

Tymerous, 0. Form of timor- 
ous. I. 4. 14. 



2o6 



The Cafe is Alterd 



Vaine, n. Form of vein. 1. 1. 

lOI. 

Vice, n. The stock buffoon in the 
old English moralities. See note 
on 2. 7. 86. 

Vild, a. A corrupt form of vile. 

4- I-34- 

Vncouer, v. i. To take off one's 
hat. 1. 1. 114. 

2. With quibble : To disclose, re- 
veal. 5. 1. 25. 

fVncur'd, ppl. a. Incurable. 5. 
5-III. 

Vnderprised, ppl. a. Under- 
valued. 4. 1. 28. 

Vngem. [For unguent.] L. un- 
guis, a finger nail. Phr. ad un- 
guein: To a hair, exactly. See 
note on 4. 5. 28. 

Vnthrift, n. A prodigal. 2. i. 5. 

Vnto, prep. ['Now somewhat 
antiquated, but much used in for- 
mal or elevated style.' — C. D.] To. 
2. 4. 36. 

Void, V. intr. fTo go, depart ; 
'begone!' 1. 1. 121. 

fVpsie freeze, adv. '[Form of 
Upsee-Freese.] Dutch, op sijn 
Friesch ( op, upon, in ; sijn = G. 
sein, his, its.) : In the Frisian man- 
ner, i. e., to drink deeply.' — C. D. 
See note on 4. 5. 28. 

Vtopia, n. 'England.' — C. 2. 7. 16. 

Weedes, n. pi. Garments. ['Now 
used chiefly in widow's weeds' — C. 
D.] See note on 1.1.22. 



Wench, n. A young woman — a 
familiar term, but not derogatory 
as now. Arch. i. i. 37. 

What, pron. i. (Cf. L. qualis.) 
'Applied to persons ; nearly equiv- 
alent to who, but having reference 
to origin or character, rather than 
to name or identity.' — C. D. 1. 1. 
62. 

2. Expressing a summons. 4. 7. 

53- 

When, int. i. An exclamation 
of impatience. 4. 8. 73. ?Obs. Cf. 2. 

2. Phr. when, can you tell. See 
note on 5. i. 83. ?Obs. 

Why so, phr. An expression of 
consent or unwilling acquiescence : 
so be it. 5. 1. 77. 

Wight, n. A person, whether 
male or female, i. i. i. 

Wind, n. i. Phr. in the wind: 
Astir, afoot. 4. 2. 53. 

2. Phr: down the wind: Toward 
ruin or adversity. See note on 

4- 5- 7- 

fWorkiday, n. Obs. form of 
workaday. 4. 5. 62. 

Wot, V. [Pres. Ind. 3d pers. 
sing, from wit. Arch. exc. in the 
set phrase to wit.] Phr. God wot: 
God knows. Used to emphasize 
the truth of a statement. 3. 3. 36. 

fWrackt, ppl. a. Obs. misspell- 
ing of racked: Tortured, tormented, 
harassed. 3. 4. 30. 

Writ, ppl. a. An obs. or arch. 
form of written. 2. 7. 62. 



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INDEX 



A 
Additions, later, to The Case is 

Altered, xxix, xxx fif., xl. 
Ad ungem, 158. 
Alia Coragio, 114. 
Amurath, 172. 

An eye to the main chance, 170. 
Apparel, Jonson's ridicule of ex- 
travagance in, XXV ; the tendency 

to extravagance in, 171. 
Aries, 143. 
Aristotle, Poetics, Jonson's attitude 

toward, xlvii, Ix. 
Aronstein, P., xxxi, xxxii, xxxiv, 

xxxvii, xxxviii, xxxix, xl, xlviii, 

Ivi, Ixiv. 
Art of Memory, 131. 
Audience, satire of, xxix, xxxix ff. ; 

character of, in the public and 

private theatres, 136 ; conduct of, 

138. 
Authorship of The Case is Altered, 

discussion of, xi ff. 
A word to the wise, 98. 

B 

Ballads, 97! 

Barrenger, William, 97. 

Baskervill, C. R., his opinion con- 
cerning the allusion to Anthony 
Munday, xxx ; English Elements 
in Jonson's Early Comedy, cited, 
xxxi, xli. 

Bayne, R., his view about 'best 
plotter,' xxxvi ; cited, xxxviii 
(note 11). 

Black, worn by scholars, 156. 

Blackfriars, 95, 136. 

Blue order, 119. 

Bodenham, J., Belvedere, xxxix, 
Ixii, 127, 128, 149. 

Bombard slops, 166. 

Break my head, and bring me a 
plaster, 142. 

Bridget, Saint, 153. 



Brooke, C. F. T., xli, xlvi. 
Brown study, 152. 
Bucklers, to bear away the, 144. 
Buland, Mable, xxxiii, xlix, li. 



Capriccio, 115. 

Case is Altered, The, 95; acted by 
the students of the University of 
Chicago, Ixiv ; authorship of, xi 
fif. ; its characters, xx ff., liv ff. ; 
undeveloped characters in, xii, 
xxxiii, Iviii ff. ; a possible collab- 
orator in, xii, xxviii ; compared 
with the other plays of Jonson, 
Ixii ff. ; early composition of, 
xxxi ff. ; date of, xxix ff. ; words 
in, that are common with Jon- 
son, xvii ff. ; the treatment of the 
dramatic unities in, xii, xiii, 
xxxiii, xlix ff. ; evaluation of, 
xlvii ff. ; footnotes to, x ; 
'humour'-studies in, xxiv ff. ; its 
immaturity of composition, xxxii 
ff. ; Jonson's name on the quarto 
of, xiii ff. ; later insertions in, 
xxxi-ii, XXXV ff., xl ; metrical 
peculiarities of, xxvi ff. ; omitted 
from the folios of Jonson, vii, xi 
ff. ; organic unity of, liii ff. ; the 
quarto of, vii ff. ; the question of 
its priority to Every Man In, 
xxxii ff. ; satire in, xxxv ff. ; 
sources of, xiii ff. ; its sources of 
comic effect, Ix ; its time-scheme, 
xli.x ff. ; its variety of plots and 
sub-plots, xii, xxxiii, xlviii ff. 

Castelain, M., xii, xiii, xv, xxxi, 
xxxiv, liv, Ivi, Ivii, Iviii, lix, Ixiii. 

Censuring plays, 138, 139. 

Chameleon, 175. 

Chamont, General, 124. 

Chapman, George, All Fools, xx, 
xxiii, xxvii ; Humorous Day's 
Mirth, xxxviii. 

Children of the Blackfriars, 95. 



Index 



213 



Cobblers, 98. 

Cob-webs, curative properties of, 
142. 

Collier, J. P., xxxi, xxxv. 

Come near him, 128. 

Cony-catching, 164. 

Courthope, W. J., xxxii. 

Courtship, fantastic modes of, xxvi. 

Crawford, C. H., his opinion con- 
cerning the date when the satire 
on Anthony Munday .was inserted, 
xxxix ; cited, 127, 128, 149. 

Crotchets, 157. 

Crown, French, 175. 

Crown, money, 187. 

Cunningham, F., xi, xiii, xvii. 

Cypress, 153. 

D 

Danger doth breed delay, 160. 
Date of The Case is Altered, xxix 

ff. 
Decade in the Art of Memory, 131. 
Dekker, Thomas, Roaring Girl, 

xxiii ; Shoemaker's Holiday, xx, 

xxvii, Ivi, Ixi. 
Devices, printers', 96. 
Down the wind, 156. 
Dreams, 187. 

Dress, extravagance in, 171. 
Dryden, John, xv, xxiv. 
Dumb-shows, 106. 



Editions of The Case is Altered, vii 

fif. 
Egg, white of, its healing properties, 

144- 
Eleven and six, hours for meals, 

130. 
Epitaphs, 135. 
Evaluation of The Case is Altered, 

xlvii fif. 
Extemporal plays, 137. 



Fencing, xxv, 135. 

Fennel, 119. 

Flax and white of an egg, 144. 

Fleay, F. G., xiii, xxxi, 96. 

Fool's paradise, 177. 



Footnotes to the text of The Case 

is Altered, x. 
Fortuna de la guerra, 112. 
Fortuna non mutat genus, 151. 
Fortunatus' hat, 122. 
Fortune my foe, 169. 
Fortune's wheel, 151. 
France and Milan, 114, 124. 
French crown, 175. 
From the crown of the head, 155. 



Gayley, C. M., Ixv. 

Genius, 115. 

Gifford, William, his edition of Jon- 
son, xi ; cited, xvii, xxxi, xxxii, 
xliv, Ivii, Ixi. 

God of gold, 179. 

Gold is but muck, 170. 

Goodwin Sands, 112. 

Grace, saying of, 129. 

Greek, mad, 169. 

Greg, W. W., his letter regarding 
the folios, vii. 

Ground, the pit of a theatre, 106. 

H 

Handkerchiefs as gifts, 159. 

Hang sorrow, 181. 

Hare, keenness of vision of, 185. 

Hart, H. C, his opinion about Juni- 
per, xli ; cited, vii. 

Harvey, G., possible allusion to, xli. 

Have at thee, 145. 

Hazlitt, W. C, vii, xxxv. 

Healths, drinking of, 151. 

Helogabolus, 189. 

Henslowe's Diary, xii, xl, xlviii. 

Heraldry, xxv. 

Hold hook and line, 115. 

Horace, Epodes, 151 ; Odes, 122, 
157; Satires, 133. 

Hyena, 180. 



I come with a powder, 100. 

Ill-gotten goods never thrive, 187. 

In an academy, 156. 

In artibus m agister, 139. 

In diebus illis, 160. 

In Domino confido, 96. 

Ingle, 99. 



214 



The Cafe is Alterd 



Insane people thought to be pos- 
sessed, 143. 



Jahrbuch, xviii. 

Jonson, Ben, his attitude toward 
Aristotle, xlvii, Ix ; characters rem- 
iniscent of, XX ff. ; his connec- 
tion with Henslowe, xxxix, xlviii ; 
his dislike of affectations, 135, 154, 
156; his lack of interest in love- 
scenes, XV, Ixiii ; his method of 
naming characters, xxiii ff. ; his 
name omitted from some copies 
of the quarto of The Case is 
Altered, xiii ff. ; his observance 
of the dramatic unities, xlix ff. ; 
his poor opinion of the 'common 
sort,' xxxix ; his plots, xxxiii, 
xlvii. Hi ; his practice of describ- 
ing characters, xxiv ; quotes from 
his own works, xvii, 140; his at- 
tempt at romantic comedy, xiv ; 
his satire on Anthony Munday, 
XXXV ff., and, on the audience, 
xxxix fif. ; situations common 
with, xxiv ; his treatment of the 
sources of The Case is Altered, 
xxxiii, xlii ff. ; words favorite 
with, xvii ff. ; his use of words 
of Greek and Latin origin, xix ; 
Alchemist, xxv, xxxvi, xxxix, Hi, 
Ixi, Ixiii ; Bartholomew Fair, 
xxiv, Ixi, Ixiii ; Catiline, xlvii ; 
Cynthia's Revels, xxi, xxiii, xxiv, 
xxv, xxvi, xxxvi, xxxviii, xl, 
xlvii, Ix, Ixiii ; Devil is an Ass, 
xxiv, xxv, Ixi ; Discoveries, xvii, 
xxxiii, xlv, xlvii, xlix, li, Ix ; 
Epiccene, xxii, xxiv, xxv, xlvii. 
Hi, Ixiii ; Epigram 115, xxxviii ; 
Every Man In, xvii, xx, xxi, xxii, 
xxiii, xxiv, xxv, xxvi, xxix, 
xxxii, xxxiii, xxxiv, xxxviii, Ixi, 
Ixiii ; Every Man Out, xvii, xviii, 
xxi, xxii, xxiii, xxiv, xxv, xxvi, 
xxix, xxxiii, xxxix, xl, xlvii, Ix, 
Ixiii; Magnetic Lady, xxii, xxiv, 
xxv, xxxiii, xxxix ; New Inn, 
xxiv, xxv, xxvi, xxxvi, xlvii, 
Ixiii ; Poetaster, xvi, xxi, xxii, 
xxiv, xxv, xxvi, xli, xlvii, Ix, 
Ixiii ; Sejanus, xvi, xlvii ; Staple 



of News, xxiv, xxv, xxvi, xxxviii, 
xlvii ; Tale of a Tub, xxi, xxiv, 
Ixi, Ixiii ; Underwoods, xxxvi ; 
Volpone, xxii, xxiv, xxv. Hi, Ix, 
Ixiii. 

K 
Koeppel, E., xxxi, xxxiv, xxxv, 
xxxviii. 



Lamb, Charles, Specimens, 116, 129, 

148. 
Lie there the weeds that I disdain 

to wear, 98. 
Lion's hide, yEsop's fable of, 107. 
Lounsbury, T. R., xxxi, xxxiii, xlix, 

Ixiii. 
Lovers' perjuries, 144. 
Lunatics possessed of devils, 143. 

M 

Machiavelli, 163. 

Mad Greek, 169. 

Msecen-asses, 103. 

Main chance, an eye to, 170. 

Make two griefs of one, 121. 

March, a fair, is worth a king's 
ransom, 189. 

March fair, 189. 

Marston, John, Eastward Hoe, 
xxiii. 

Master of Arts, 139. 

Master of Defence, 135. 

Maximilian, 114, 124. 

Meals, hours for, 130. 

Mephistophiles, 143. 

Meres, Francis, his reference to An- 
thony Munday as 'our best plot- 
ter,' XXX, xxxvi, xl. 

Middleton, Thomas, Blurt, Master- 
Constable, Chaste Maid in Cheap- 
side, Family of Love, Michaelmas 
Term, xxiii. 

Milan, the French in, 114, 124. 

Moulton, R. G., his letter about The 
Case is Altered, Ixiv. 

Much, 144. 

Muck, a reference to money, 170. 

Munday, Anthony, referred to by 
Meres as 'our best plotter,* xxx, 
xxxv, xxxvi ; satire on, xxxv ff. ; 



Index 



215 



cited, Downfall of Robert, Earl 
of Huntington, xxxv ; Palladino 
of England, xxxv ; Paradoxes, 
xxxvii ; Two Italian Gentlemen, 
xxxvii ; John a Kent and John a 
Cumber, xxxv, xxxviii. 

Music of the spheres, 176. 

My mind to me a kingdom is, loi. 

N 

Nashe, Thomas, Lenten Stuff e, ref- 
erence to The Case is Altered, 
XXX, Ixii. 

New plays, 138. 

Ningle, 181. 

Noble Science, 135. 

Notes and Queries, xxxix, xli, 127, 
128, 149. 

O 

'Of meaning 'instead of,' 98. 

Onion and tears, iii. 

Onion, possible pun on the name 

of, 154, 165. 
O me no oo's, 178. 
Owl, superstition about, 185. 



Pageant-poet and pageants, loo-i. 

Painting, 162. 

Panurgo, 169. 

Patents, 113. 

Penny, price of admission to the 
theatre, 105. 

Plantain, healing properties of, 142. 

Plautus, Aulularia, xv, xxxiii, xlii 
ff., xlvii, xlviii, Ivii ; Captivi, 
xxxiii, xlii ff., xlvii, xlviii, xlix. 
Hi, Ivi ; characters of, found in 
The Case is Altered, liv ff. ; others 
who have borrowed from the 
Aulularia and the Captivi, xlvi ; 
parallel passages from the Aulu^ 
laria: 125, 126, 127, 133-4, 145-9. 
164-6, 168, 176, 177, 179; from the 
Captivi: 123, 148, 150-1, I55, 172- 
4, 186. 

Plays, amount received for, 104; 
censuring of, 139; extemporal, 
137 ; new, 138. 

Posy, 159. 

Precisianism, 130. 



Pristmate, iii. 

Prosody, discussion of, xxvi ff. 

Proverbs : 

A fair March is worth a king's 
ransom, 189. 

An eye to the main chance, 170. 
A word to the wise. 98. 
Break my head and bring me a 
plaster, 142. 

Delay breeds danger, 160. 
Down the wind, 156. 
From the crown of the head to 
the sole of the foot, 155. 
Gold is but muck, 170. 
Hang sorrow, care will kill a 
cat, 181. 

Ill-gotten goods never thrive, 
187. 

Make not two sorrows of one, 
121. 

Sweetheart and bag-pudding, 
164. 
The case is altered, 95. 
The more we spare, the more 
we gain, 128. 
To smell a rat, 163. 
When, can you tell, 178. 
Your cake is dough, 188. 
Pull his cloth over his ears, 120. 
Puppets, 182. 
Puritans, references to, 123, 129, 

130. 
Put to my shifts, 99. 



Q 

Quarto of The Case is Altered, vii ; 
variations in the readings of, viii 
flf. ; title-pages of, viii, xi ff., 3, 
5, 7- 



R 

Radamant, 163. 
Rest, to set up one's, 107. 
Robertson, D. A., Ixv. 
Rope, quibble on, 165. 



Saint Bridget, 153. 
Saint Foyes, 176. 
Saint Paul's Church, 
Sarrazin, G., xviii. 



97. 



2l6 



The Cafe is Alterd 



Satire in The Case is Altered, xxxv 
fF. 

Schelling, F. E., xv, xxix, xxxii, 
xxxiii, xlvii, Hi, Ivii. 

Set up one's rest, 107. 

Shakespeare, William, 2 Henry IV, 
xxiii, xlviii, li ; Henry V, xxiii ; 
Love's Labor's Lost, xxiii, Ixi ; 
Macbeth, li; Measure for Meas- 
ure, xxiii ; Merry Wives of 
Windsor, xviii ; Midsummer- 
Night's Dream, xxiii; Much Ado 
About Nothing, Ivi; Two Gen- 
tlenien of Verona, xx, xxvii, Ixiv. 

Shifts, put to, 99. 

Sigismund, 186. 

Slops, 166. 

Small, R. A., xvi, xxxi, xxxii, 
xxxviii, xli. 

Smell a rat, 163. 

Songs and Sonnets, 155. 

Sources of The Case is Altered, 
xlii flf. 

Spheres, music of, 176. 

Spirits, evil, 120, 143. 

Stationers' Register, xxix, 97. 

Stocks, 189. 

Stoll, E. E., Ivi. 

Super negulum, 157. 

Surquedry, 157. 

Sutton, Bartholomew, xxix, 97. 

Sweetheart and bag-pudding, 164. 

Swinburne, A. C, xii, xiii, xxxii, 
xlviii, Ixiv. 

Symonds, J. A., xxix, xxxii, xxxiii, 
xxxvii, xxxix, xl, xlvii, xlviii, Hi, 
Ivi, Ixiii, Ixiv. 



Tau, dery, dery, 145. 

Terence, Andria, iii. 

Term, 103. 

The more we spare, 128. 

Theatres, conduct of the audience 



in, xxxix, 138; price of admis- 
sion to, 105, 139 ; public and priv- 
ate, 136. 

Time was, time is, time shall be, 
155. 

Tippet, to turn, 153. 

Tobacco, referred to by Jonson, 
XXV ; use of, by ladies, 129. 

Tolman, A. H., Ixv. 

Transmutation of elements, 188. 

Travel, xxv, 108. 

Trip and go, 162. 

Turks, popular subjects for the 
drama, 172. 

Turtle, to turn, 161. 

Twenty pound a play, 104. 

U 
Upsie Freeze, 158. 
Utopia, 136. 

V 
Vice, character in the moralities, 

141. 
Vicenza, 114, 124, 148. 
Virgil, Mneid, 148. 

W 

Ward, A. W., xxxi, xl, liv, Ivii. 

Whalley, Peter, his edition of Jon- 
son, X. 

Wheatley, H. B., xxxi. 

When, can you tell, 178. 

Wilke, F. W., xxvii, xxviii. 

Witchcraft, 120, 143, 162. 

Woodbridge, Elisabeth, xlix. Hi, 
Ixiv. 

Word to the wise, 98. 

Written by Ben Jonson, 96. 



Your cake is dough, li 



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